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Digitized by the Internet Archive 
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http://www.archive.org/details/paintershandbookOOroor 



ROORBACH'8 
PRACTICAL. HAND-BOOKS.-No. 2. 



THE 



PAINTER'S 



Hand-Book. 



NEW YORK: 

o. .a., roorib^ch:, 

102 Nassau Street. 



GO OD BOO KS. 

The Parlor Magician ; or, One Hundred Tricks for the Draw- 
ing-room, containing an Extensive and Miscellaneous Collection of Con- 
i'uring and Legerdemain ; Sleights with Dice, Dominoes, Cards, Ribbons, 
iings, Fruit, Coin, Balls, Handkerchiefs, etc., all of which may be Per- 
formed in the Parlor or Drawing-Room, without the aid of any apparatus ; 
also embracing a choice variety of Curious Deceptions, which may be per- 
formed with the aid of simple apparatus ; the whole illustrated and clear- 
ly explained with 121 engravings. Paper covers, price 30 cts. 

Bound in boards, with cloth back. _. 50 cts. 

Book of Riddles and Five Hundred Home 

Amusements, containing a Choice and Curious Collection of Riddles, 
Charades, Enigmas, Rebuses, Anagrams, Transpositions, Conundrums, 
Amusing Puzzles, Queer Sleights, Recreations in Arithmetic, Fireside 
Games, and Natural Magic, embracing Entertaining Amusements in Mag- 
netism, Chemistry, Second Sight, and Simple Recreations in Science for 
Family and Social Pastime, illustrated with sixty engravings. Paper covers, 

price 30 cts. 

Bound in boards, with cloth back z- 50 cts. 

The Book Of Fireside G-ameS. Containing an Explana- 
tion of the most Entertaining Games suited to the Family Circle as a Re- 
creation, such as Games of Action, Games which merely require attention, 
Games which require memory, Catch Games, which have for their objects 
Tricks or Mystification, Games in which an opportunity is afforded to 
display Gallantry, "Wit, or some slight knowledge of certain Sciences, 
Amusing Forfeits, Fireside Games for "Winter Evening Amusement, etc. 

Paper covers, price __ 30 cts. 

Bound in boards, with cloth back 50 cts. 

Parlor Tricks "With Cards, containing Explanations of 
all the Tricks and Deceptions with Playing Cards ever invented, embra- 
cing Tricks with Cards performed by Sleight-of-hand ; by the aid of Mem- 
ory, Mental Calculation, find Arrangement of the Cards ; by the aid of 
Confederacy, and Tricks Performed by the aid of Prepared Cards. The 
whole illustrated and made plain and easy, with seventy engravings. Paper 

covers, price 30 cts. 

Bound in boards with cloth back .- 50 cts. 

Parlor Theatricals ; or, Winter Evenings' Entertainment. Con- 
taining Acting Proverbs, Dramatic Charades, Acting Charades, or Drawing 
Room Pantomimes, Musical Burlesques, Tableaux Vivants, &c. ; with In- 
structions for Amateurs ; how to Construct a Stage and Curtain ; how to 
get up Costumes and Properties, on the " Making "Up " of Characters, Ex- 
its and Entrances ; how to arrange Tableaux, etc. Illustrated with Engra- 
vings. Paper covers, price 30 cts. 

Bound in boards, cloth back - 50 cts. 

The Book of 500 Curious Puzzles. Containing a 

large collection of entertaining Paradoxes, Perplexing Deception in num- 
bers, and Amusing Tricks in Geometry. By the author of " The Sociable," 
"The Secret Out," "The Magician's Own Book." Illustrated with a Great 
Variety of Engravings. This book will have.a large sale. It will furnish 

Fun and Amusement for a whole winter. Paper covers, price 30 cts. 

Bound in boards, with cloth back 50 cts. 

O. A. R00RBACH, 102 Nassau St., N. Y. 



THE 



PAINTEK'S 



HAND-BOOK. 






/ 



O. J±. R, O O R, B ^ C H, 

102 Nassau Street. 









Entered according to Act of Congress, in the year 1868, by 

O. A. KOOKBACH, 

In the Clerk's Office of the District Court of the United States for the 
Southern District of New York. 



h '///?? 



THE 

PAINTER'S HAND-BOOK. 



Painting is, strictly speaking, a chemical process ; for 
the painter has to select such colored substances, whether 
from the mineral, vegetable or animal kingdom, as will unite 
with oils and varnishes, or with glutinous substances, such 
as size ; and which, when laid on walls, &c, will resist the 
action of the atmosphere. To this extent painting is a 
chemical process. Again : Painting is, in some degree, a 
branch of the fine arts, since, being partly for ornament 
and embellishment, an exercise of taste is called for, in the 
choice and disposition of various colors. 

In practice, however, the house-painter seldom considers 
the chemical nature of the colors which he employs ; nor 
do there appear to be any well understood laws, by which 
colors are chosen with any especial reference to one ano- 
ther. The painter is, to a considerable degree, deprived of 
the privilege of choosing or arranging Ms colors, since 
those by whom he is employed generally decide what shall 
be the colors selected. Still, the painter might, by an at- 
tention to chemistry, devise improved combinations of 
substances, either of a brilliant or of a durable nature, in 
the mixture of his paints ; and he might also, by a culti- 
vation of taste, and an attention to the harmony of colors, 
produce something which would approach to the intellect- 
ual, even in house-painting. It is said that Italian apart- 
ments have an exceedingly chaste and beautiful effect, from 
the skill of the Italian painters in associating different 
colors — the colors employed are very brilliant ; and yet a 
gaudy effect is avoided by the judicious arrangement of 
tints. 

In a work of this kind we cannot enter very fully into 
the nature of color. But we shall endeavor to explain 
briefly the chemical nature of different pigments which are 



4 THE PAINTER'S HAND-BOOK. 

used as paints ; and also to offer a few remarks on the har- 
monizing of different colors. 

The object of painting a house is two-fold : first, the 
preservation of wood, metal, &c, by preventing air and 
moisture from exerting injurious action thereupon; and se- 
cond, the production of an effect agreeable to the eye. The 
latter point is regulated wholly by the choice and distri- 
bution of colors ; but the former depends on the nature of 
the pigments employed. 

When a color, such as will please the eye, is chosen, the 
important question arises, how shall that color be reduced 
to a liquid state, so as to be laid on the wall with a brush? 
If the coloring substance be mixed up with water, the 
probability is, that it would, when laid on the walls and 
allowed to dry, have so little tenacity as to be easily wiped 
off with the finger. If mixed with a glutinous substance, 
such as glue, size, isinglass, &c, it will be proof against dry 
rubbing, but would not bear to be wetted. If oil were 
used, the greasy nature of the oil might prevent the paint 
from drying for a very considerable period; if alcohol or ether 
were employed, the rapid evaporation might deprive the 
paint of any permanent character ; so that it becomes a 
problem of importance to the painter, to determine what 
is the most convenient liquid to mix with a coloring mat- 
ter, in order to produce a paint or pigment. 

This question is determined, in a great measure, by the 
nature and situation of the place to be painted. The ceiling 
of a room, for instance, is removed from the friction either of 
dry or wet substances ; and a paint in which size is the liquid 
body, if cheaper than oil paint, might be advantageously 
employed. But for the door of a room, or any similar 
part, the paint must have a greater degree of durability. 
If the clothes are rubbed against it, they should not be 
soiled by the contact ; if a wet cloth or a warm hand be 
placed against it, the paint should not receive a permanent 
stain ; and it should stand the wear and tear of some years. 
Now these different necessary qualifications of a paint have 
led to the adoption of two distinct kinds of painting — oil 
painting, and distemper painting ; the latter of which may 
be exemplified by what is termed the " whitewash" of a 
ceiling. 

Distemper coloring is very frequently the work of a plas- 
terer; but a few words hereafter will enable us to give an 



THE PAINTER'S HAND-BOOK. 5 

idea of the mode in which it is conducted. The paint 
which the painter uses, in the majority of cases, is mixed 
up with oil, so that the term ''paint" has become now al- 
most exclusively applied to oil colors. 

The point, then, to which these introductory details 
bring us, is simply this : That the painter purchases cer- 
tain colored substances, principally of mineral origin, from 
the manufacturers ; mixes them with oils, &c, into a fluid 
state ; and then lays the fluid paint, by means of a brush, 
on the articles which he is employed to paint, and with 
such a choice of colors as taste or caprice may direct. It 
will thus be convenient to separate the information which 
we may have to offer into six parts, according as it relates, 
1st. To the nature of the coloring substances. 2d. The oils 
and other fluids with which they are mixed. 3d. The 
modes of mixing and laying on the colors. 4th. The choice 
of colors, when more than one are employed. 5th. Re- 
ceipts for colors. 6th. Miscellaneous. 



l._ON COLORING SUBSTANCES. 

These we may conveniently arrange according to their 
colors. 

White. — White is the basis of almost all the colors 
used in House-Painting ; or rather, whatever be the finish- 
ing color, the under-coats of paint are generally either 
white, or contain white as one of their ingredients. The 
choice of a material for white paint is of much importance ; 
and it is unfortunate that, after all the trials that have 
been made, the white which is found to be most durable 
and to possess the most valuable properties, is a poisonous 
substance, which has had great influence in injuring the 
health of house-painters ; it is white lead. This substance 
is a carbonate of lead, and is used in the arts in three dif- 
ferent states of purity, as white lead, ceruse, and flake white. 
The first is the one which is most largely employed by 
painters. It is prepared by exposing strips of sheet lead 
to the action of vinegar ; but as the painter purchases it 
ready-made, we need not detail the process. Sometimes 
it is adulterated with lohiting ; but this may be detected 
by rubbing a little of it between the fingers, and throwing 
it on a piece of kindled charcoal. If pure, the who'e of it 



6 THE PAINTER'S HAND-BOOK. 

will turn of a yellowish hue, and shortly present the ap- 
pearance of metallic globules ; but if any whiting has been 
mixed with it, an earthy residue will be the result. 

Bougival white, and Spanish ichite, are substances fre- 
quently employed instead of white lead ; but they are less 
durable. The former is a clay procured from Bougival, 
near Marly, in France ; and the latter contains bismuth as 
one of its ingredients. 

Plaster of Paris, which is nearly the same with gyp- 
sum, or sulphate of lime, is not mixed with oil, but with 
water and size, and is therefore used in distemper paint- 
ing. 

Whiting is a kind of washed chalk, and is serviceable to 
the painter as an ingredient for putty and in distemper 
coloring ; but not in oil paint. 

There are a few other whites employed by the painter ; 
but white lead so far exceeds them all in the extent of 
its application, that we need not extend our notice of 
them. 

Black. — The most general black in oil painting is lamp- 
black. The soot which we obtain by holding a cold sub- 
stance over the flame of a lamp is, in reality, lamp-black ; 
but it is generally procured by burning resinous woods, or 
common turpentine, or the refuse resulting from its purifi- 
cation, or resin, and preserving the thick smoke which 
arises. It forms a very useful paint, by subduing the 
brightness of other colors, and is cheap, smooth, and dura- 
ble, when employed by itself as black paint. But it is so 
unctuous in its nature, that it would dry slowly, without 
precautions which we shall hereafter explain. 

Ivory black is obtained by burning clippings of ivory in 
a covered crucible ; but it is too expensive to be much used 
by the. house-painter. 

A kind of charcoal, made by burning beech and vine 
wood, and peach stones, is often used as an ingredient in 
black paint. In Germany and France a fine charcoal is 
procured by burning wine lees, tartar, and peach stones, 
in large vessels, and collecting the soot. 

Most black paints have a very brilliant luster, when 
mixed up with oil, and applied to wood- work, &c. 

Yellow. — Chrome yellow, which presents a very bril- 
liant color, is a compound of chromic acid and lead. 
Chrome was discovered about forty years ago; and as 



THE PAINTER'S HAND-BOOK. 7 

chrome yellow was originally rather costly, its use was 
confined to the portrait-painter. But an improved mode 
of manufacture has brought its price within the reach of 
the house-painter, and it is now extensively employed. It 
possesses so much body or solidity, that it is said one 
pound of it will go as far as four pounds of patent yellow, 
whose use it has, to a great extent, superseded. 

Turner's or patent yellow, to which we have just alluded, 
is a muriate of lead, the muriatic acid being derived from 
sea salt, and the lead from litharge. 

Naples yellow is a pigment of a mild and beautiful color, 
the composition of which was for a long time known only 
to the manufacturer at Naples, but which is found to be a 
combination of lead, antimony, alum, and some other 
bodies. It is an extensively useful color. 

King's ye'loio and orplment are sulphurets of arsenic, but 
are so poisonous in their nature that they are not much 
used, especially as they are not very durable.- 

Massicot, and the different kinds of yelow ochre, are use- 
ful in painting, under certain circumstances. The former 
is an oxide of lead ; and the latter consist of clay, lime, 
and iron. 

Red. — The brilliant color, vermilion, is formed from cin- 
nabar, or sulphuret of mercury. Cinnabar occurs as a na- 
tive ore : but vermilion is generally prepared artificially, 
by heating mercury and sulphur together, with certain pre- 
cautions. This substance possesses all the properties to 
form a good paint ; but, from its high price, it is frequent- 
ly adulterated with red lead. If a piece be put upon a 
red-hot iron, and the whole evaporate, the vermilion is 
pure ; but if a residue is seen, red lead may be suspected. 

Carmine is a very brilliant red, extracted from cochineal 
by the action of an acid. The chief material (cochineal) 
of which it is composed, is so costly that the manufacture 
remains in but few hands, and requires much care and 
caution. 

The term lake is applied to those pigments which are 
obtained by extracting the coloring matter from animal 
and vegetable substances by means of an acid, or some 
other agent. The name appears to be derived from " lac," 
an Indian word signifying color, or coloriDg matter. The 
carmine which we have just described is a lake ; and two 
other red lakes are cochineal lake, and madder lake. Coch- 



8 THE PAINTER'S HAND-BOOK. 

ineal lake is prepared from a liquor which remains after the 
preparation of carmine, and which is heated with soda or 
potash in a particular manner, by which a precipitate is 
obtained. Madder lake is obtained by steeping the root of 
a vegetable called madder in water, and subjecting it to 
other processes. Brazil wood may also be made to produce 
a beautiful red by similar means. Thus it appears that 
both animal and vegetable substances yield lakes which 
come more or less under the denomination of red. 

Red lead, or minium, which is an oxide of lead, is a very 
useful pigment to the painter, as it possesses a good body 
and dries readily. 

Spanish oroion is a cheap paint of a dull red color, and 
is frequently used as a preparatory or priming color by 
painters. It is a kind of earth. 

Some of the ochres, and other earthy matters containing 
iron, such as Indian red, Venetian red, &c, are used to pro- 
duce different tints and intensities of red. 

Brown is a color very frequently produced by a mix- 
ture of red and black ; indeed there is only one substance 
in extensive use as a simple brown color. This is umber, 
so named from Umbria, in Italy, from whence it was first 
obtained. Turkey umber is of a clove-brown color, and is 
brought from Cyprus. When burnt a little, it acquires a 
deeper tinge of brown. It consists of oxides of iron and 
of manganese, principally. 

A pure simple brown of superior color has been recom- 
mended, which may be procured by dissolving prussiate of 
lime and muriate of copper in water, by whicn a brown 
prussiate of copper may be obtained. 

Parkers cement, when well ground up with oil, has 
been recommended as a useful chocolate color for rough 
work. 

Blue. — Prussian blue is a brilliant color resulting from 
the combination of Prussic acid and iron, and is very valu- 
able to the painter on account of the large proportion of 
coloring matter which it contains in a given weight ; in- 
deed it has been said that it contains, weight for weight, 
ten times more coloring matter than any other substance. 
Hence a smalt quantity will go a great way in forming 
compound colors. 

Indigo is derived from a plant growing in the East Indies 
and in America, called Indigo/era. When the plant has at- 



THE PAINTER'S HAND-BOOK 9 

tained a certain height, the leaves are cut and steeped in 
water, where, after a time, they begin to ferment. The 
liquor is then drawn off, and a blue sediment is deposited, 
which, when dried, forms the indigo of commerce. Indigo 
is so very dark a blue, that it is found necessary to add a 
little white to it in painting. It is generally used for 
distemper, but the best kinds are also used for oil painting. 

There are several preparations of cobalt, diifering slightly 
from one another, but all of them having a blue color, such 
as smalt, zaffre, azure blue, enamel blue, Saxon blue, vit- 
reous oxide of cobalt, &c. Two or three of these are dif- 
ferent names for the same substance. These blue3 are 
mostly used for enamel or miniature painting ; but they 
are sometimes employed by the house-painter, in the form 
of a dry powder ; this is sprinkled on wet paint, which 
thus dries with a dead blue color. The principal reason 
for this mode of using smalt seems to be, that its glassy 
or sandy texture will not allow it to be mixed up into a 
smooth paint with oil. 

Ultramarine we need scarcely touch upon, since its enor- 
mous price removes it out of the reach of the house-painter. 
It is prepared from a mineral called ' lap-is lazicli, and is 
nearly worth its weight in pure gold. 

Blue verditer, which is a nitrate of copper, is a useful 
blue for distemper coloring ; but not for oil, as the oil gives 
it too dark a tinge. 

Green. — The most common and useful green is verdigris. 
It is an acetate of copper, and is rather bluish-green in its 
tinge ; but the addition of a little yellow will produce an 
excellent grass green. In the wine districts in the south 
of France, grape-stalks and husks are placed upon plates 
of copper, and moistened. Fermentation takes place ; the 
acetic acid in the grapes combines with the copper ; and 
a green rust is formed, which constitutes verdigris. In 
grinding this substance, the painter should be careful not 
to admit any of the dust into his mouth, as it is highly 
poisonous. 

A useful light sea-green pigment is SclieeWs green, 
which is an arseniate of copper, and not so deleterious as 
most pigments containing arsenic. 

Italian green and Saxon green, which are species of earths, 
Bruns-w ick green, which is a muriate, of copper, and green 
verditer, which is a nitrate of copper, are sometimes used 



10 THE PAINTER'S HAND-BOOK. 

in oil colors, but more frequently in distemper ; as oil 
deepens the tint too much. 

AVe might greatly extend our list of coloring substances; 
but as those which we have enumerated comprise nearly 
all those which are used by the house-painter, we need not 
enter upon those whose employment is mostly limited to 
the portrait or miniature-painter, or to glass, enamel, and 
porcelain-stainers. 

It will be obvious that there are numerous colors em- 
ployed in house-painting, which we have not j r et enumer- 
ated, such as salmon color, drab, lilac, &c. These are pro- 
duced by mixture of two or more of the colors which 
we have already mentioned. The number of tints that 
may be thus produced is absolutely infinite; since 
every change, whether of ingredients, or of the proportion 
in which they are mingled, will produce a different tint 
from those before produced. It follows, therefore, that no 
minute direction can be given as to the combination of dif- 
ferent colors ; for it is impossible to find distinctive namss 
for all the varieties of tint and shade. We may, however, 
make a few general remarks on the production of mixed 
colors. 

A strom color may be produced by chrome yellow, low- 
ered or subdued with white ; and different proportions of 
the same two colors will produce a lemon color; orpiment, 
or Naples yellow, may be used instead of chrome. Chrome 
and vermilion, or yellow ochre and red lead, will produce 
an orange color; the former being the more brilliant, but 
the more expensive mixture of the two. 

Different gradations of buff and cream colors may be ob- 
tained by the mixture of white lead and yellow ochre. 
The addition of a little umber to the same ingredients 
will give the sober hue of stone color — as also a drab. 

Flesh color will result from a mixture of lake, white 
lead, and a little vermilion. Stone ochre instead of the 
lake will give it a fawn tint; and the white and vermilion 
alone will yield & peach color. 

PearLsmd silver gray may be obtained by mixing white 
lead, indigo, and a small portion of black ; and a common 
gray by white and black without the indigo. Flaxen gray 
or sky blue will result from white lead, Prussian blue, and 
a little lake. 

By the addition of a little white to chrome and vermil 



THE PAINTER'S HAOTJ-BOOK. 11 

ion, or to Naples yellow and realgar, an approach to a gold 
color will be obtained. All imitation of metallic luster 
must, however, necessarily be imperfect. 

An olive color may be produced either from black, yel- 
low, and a little blue, or from yellow, pink, lamp-black, 
and a little verdigris. 

A violet color will result from the mixture of vermilion, 
white lead, and dark blue or black. Red lead may be sub- 
stituted for vermilion, but with inferior effect. The 
violet color, mixed with a rich deep red, will produce 
purple. 

Prussian blue, verdigris, raw umber, yellow ochre, and 
yellow pink, will enable us to produce almost every ima- 
ginable shade and tint of green, by using two or more of 
these colors, and varying their relative proportions. 

A pure, fine lead color may be obtained from indigo and 
white. But an impure lead color for coarse work, such as 
iron railings, &c, may be obtained by collecting the re- 
mains of all the other colors from the paint-pots, and mix- 
ing them together. 

As a general rule it is found that those colors which re- 
sult from the mixture of two other colors are more bril- 
liant and rich than when three or more colors are com- 
bined ; for this reason they are termed virgin colors. 

It may likewise be considered a general effect, that black 
increases the obscurity of all colors ; and that white height- 
ens or enlivens them. Hence black and white, which, 
strictly speaking, can hardly be called colors, play a very 
important part in modifying the intensity of various col- 
ors, such as yellows, reds, and blues. 

A very economical substance has lately been introduced 
as an ingredient in paint for coarse out-door work, such as 
sheds, palings, &c, viz., road dust. Roads are repaired 
with stones of a granitic, flinty or chalky nature, according 
to the locality where they are situated ; and by the con- 
stant traffic over them, the materials become ground down 
into a fine powder or dust, which, when further pounded 
or sifted, forms a durable material for paint. 

The materials which we have now enumerated are pur- 
chased from the wholesale dealers, or from the manufac- 
turers, by the painter ; and they are, generally speaking, 
in the form of rough powder. Formerly the painter was, 
to a considerable extent, thrown upon his own resources. 



12 THE PAINTERS HAND-BOOK. 

to obtain the different colored pigments ; but the exten- 
sion and improvement in the modes of manufacture enable 
the painter to purchase his colors cheaper than he can pre- 
pare them himself. This must, of course, be considered a 
benefit to ail parties in a pecuniaiy point of view ; but it 
has this bad effect, that the painter forgets that his trade 
is, to a certain extent, a chemical one ; and he consequently 
loses the earnestness of observation and the inventive im- 
pulse which always characterize those who have to make for 
themselves the articles which they use. We would sug- 
gest to every house-painter, that he has it in his power to 
give a more intellectual tone to his employment, if he were 
to study the effects which chemical action produces, both 
on the colors of various pigments and on their power of 
mixing with oils, varnishes, &c! If he can discover any 
new substance, or new combination of substances, which 
would possess either durability or beauty when employed 
as a paint, he may feel assured that manufacturers might 
soon be found who could supply it to him at a convenient 
price. It is to the young apprentice that we particularly 
address these remarks ; for the intelligent apprentice is the 
germ of the skillful workman. 



2— THE LIQUIDS WITH WHICH COLORS ARE 
MIXED. 

Oils are of mineral, animal, and vegetable origin ; but 
the latter are those which are used in painting, and of 
these linseed oil is the most extensively employed. 

Linseed oil is obtained from the seed of linum usitatissi- 
mum, or flax plant. It is obtained from the seeds by beat- 
ing and pressing, aided by heat. 

The kernels of different kinds of nuts, such as walnuts, 
hazel, and beech nuts, afford a valuable kind of oil, which 
is known as nut oil, and is obtained by beating and pressing. 

Linseed and nut oils have so great a degree of fatness or 
unctuousness, that they would, if not influenced by some 
drying process, keep the paint in a wet state for too long a 
time after being laid on. It is therefore necessar}^ either 
to give the oil itself a drying quality, or to add some other 
ingredient to the paint, with that object in view. The oil 
has a drying quality given to it by boiling 32 parts of oil 



THE PAINTER'S HAND-BOOK. 13 

with 12 parts of litharge or oxide of lead, and three parts of 
sulphate of zinc, or white vitriol. After a certain amount 
of boiling it is fit for use, under the name of toiled oil. 
For painting floor-cloths, and for other purposes in which 
rapid drying is required, the proportion of litharge is in- 
creased, by which the fatness of the oil is more subdued, 
or " killed," as it is termed. 

Linseed oil is most generally employed, on account of its 
cheapness ; but for situations which are exposed to rain or 
sun, and are at the same time required to present a good 
appearance, nut oil ought to be used, as it is found to resist 
the action of the weather more perfectly. 

Oil of spike, oil of lavender, and oil of poppies, are seldom 
employed by the house-painter, chiefly on account of their 
expense. Oil of poppies, however, possesses the important 
quality of being colorless, and is therefore sometimes used 
in delicate work, in which it is desired that the oil should 
not affect the color of the paint. 

A very valuable oil employed by the painter is oil of tur- 
pentine, usually known as turps. It is obtained by distil- 
ling crude turpentine ; it is a volatile essential oil, and is 
useful to the house-painter in three ways : — 1st : when 
mixed with prepared paints, it makes them work more 
smoothly and freely in the brush ; 2d : it enables the paint 
to dry in a much shorter time ; and, 3d : it deadens the 
gloss which oil imparts to paint, thereby producing the 
dead flatting which is often desired in house-painting. It 
is mixed either with or without oil, according to the effect 
intended to be produced. 

We may here mention that crude turpentine is obtained 
from different species of the pine tree. The process by 
which oil of turpentine is obtained from common or crude 
turpentine also yields the yellow resin of the shops, as a 
residual matter. 

Boiled oil is often made still more drying in its quality, 
by dissolving resin in it, and adding a little turpentine. 
In this form it may be used as a varnish for coarse work, 
after the latter has been painted. 

It has been found that when a solution of yellow soap is 
added to paint mixed in the usual manner, it acquires a 
very drying quality, even if tho oil be fat. 

The only animal oil which appears to have been used to 
much extent in painting, is pilchard oil. This is some- 



14 THE PAINTER'S HAND-BOOK. 

times used for coarse painting. But, in general, animal 
oils are found to be too fat for paint, and are therefore used 
only for illumination. 

Common tar, coal tar, and oil of tar, the first of which 
is of vegetable and the second of mineral origin, are useful 
for rough out-door work, such as gates, posts, &c. They 
may be used warm, without the addition of any coloring- 
matter; or they may be altered in color by other sub- 
stances. The common tar, which is obtained from the 
pine, is rather expensive ; but coal tar, evolved in the pro- 
cess of making gas, is sold at a low price. Its offensive 
smell goes off in a few days after it is used. 

Besides the processes by which oils have a drying quality 
imparted to them, the painter has at hand substances 
which, under the common name of dryers, enable him to 
make his paint dry more quickly than without their use. 
These arc principally litharge, acetate of lead, commonly 
called sugar of lead, and white vitriol. 

In some cases the pigment employed is mixed with var- 
nish instead of oil, in order that the paint may have a high 
gloss when dry. We shall have occasion to speak of dif- 
ferent sorts of varnish hereafter. 

Some pigments are neither mixed with oil, nor turpen- 
tine, nor varnish. Cheapness or taste may require that a 
more economical kind of painting should be used ; such as 
is called distemper. In such cases it becomes of import- 
ance to use some cheap liquid which should cause the 
paint to adhere to the wall, since water would not suffice 
for that purpose. Now such a liquid may be obtained by 
boiling parchment, leather, parings of hoofs, or some simi- 
lar animal substance in water, by which an adhesive glue 
or size is obtained. "When walls are painted in distemper, 
the dry colors are almost invariably mixed with warm 
melted size. For some delicate purposes, milk, and for 
others ale or beer, forms the liquid with which the colors 
are mixed ; as they all have, to a certain degree, a glutin- 
ous or adhesive quality. 

It therefore appears that oils of various kinds, turpen- 
tine, varnishes, size, milk, and malt liquor, are the liquids 
with which the painter, under different circumstances. 
mixes his dry colors. He would find it to his advantage 
to investigate and discover the reasons why one liquid is 
better than another, in certain cases. He should not be 



THE PAINTER'S HAND-BOOK. If 

satisfied with using a certain oil or varnish merely because 
others do so ; for he should endeavor, as much as possible, 
to be able to give reasons for the various processes which 
he performs. It is this which distinguishes the intelligent 
workman from others. 

MIXING AND LAYING-ON COLORS. 



The colors which we have mentioned are mostly pur- ! 
chased by the painter in the state of a powder, or small 
dry lumps. It therefore becomes necessary to reduce them 
to a very fine and smooth state before they are fit to be 
mixed with the oils, &c. This is an important part of the 
painter's busiuess, and one in which an apprentice would 
be much engaged. 

Sometimes the dry colors are gritty, or contain small 
particles of dirt or sand, which would prevent them from 
being ground up to smooth powder. In this case they are 
washed. The color is put into a tub, and water thrown 
upon it; by which the color becomes mechanically mixed 
with the water, while the gritty particles fall to the bot- 
tom. When these latter have settled, the colored liquid 
is poured off; the colored substance is allowed to settle at 
the bottom ; the clear water is thrown away, and the color 
is allowed to get dry. This process can only be employed 
with a substance that will not permanently unite with the 
water which is thrown upon it. When the washed color 
is perfectly dried, it is fit for grinding. 

This process is performed on a grindstone, by the aid of 
a mutter. The grindstone, or stone, is generally a slab of 
white or black marble or porphyry, with a perfectly 
smooth surface ; and the muller is a large egg-shaped peb- 
ble with one end broken off, and a smooth flat surface 
produced. A small quantity of the dry color (which must 
be pounded and sifted, and washed if necessary) is placed 
on the stone and moistened with a little oil, and the mul- 
ler worked over it in a circular direction. The materials 
are gradually worked out towards the edge of the stone ; 
from whence they must be removed, and also from the 
sides of the muller, with a spatula or palette knife, which 
is a broad, thin, flexible knife. If the quantity ground at 
one time be small, the grinding is more completely per- 



16 THE PAINTER'S HAND-BOOK. 

formed, and with no greater expenditure of time, than 
when a larger quantity is ground at once. 

As the small portions are ground, they are taken up on 
the palette knife, and placed in a paint-pot. "When the 
colors are ground up with oil of turpentine, it would be 
well if a current of air could carry off the vapor of the tur- 
pentine, as it is very injurious. Indeed the whole process 
of grinding colors is detrimental to the health, on account 
of small particles of poisonous matter getting into the 
mouth, eyes, and nostrils ; and it were to be wished that 
machinery were more frequently employed for this pur- 
pose. Mr. Ta}^lor and Mr. Eawlinson have invented ma- 
chines — the one for the purpose of grinding colors in a dry 
state, and the other for performing the same process with 
oil. It seems, however, as if habits and prejudices would 
long prevent these contrivances from coming into general 
use. 

All colors containing arsenic are injured by contact with 
steel ; so that the painter should have an ivory or a horn 
palette knife, called a voider, to remove the ground paint 
from the stone. The paint, before it is removed, should 
be perfectly smooth and free from grit ; and if the color be 
one in frequent demand, many painters keep it ready 
ground, and preserved in ox or sheep bladders. 

When the ground color, as thus prepared, is placed in 
the paint-pot, it is too thick for use, and must be thinned 
with the oil which it is proposed to use. The proper de- 
gree of fluidity can only be learned by experience. If too 
thin, it will run into drops when applied to the work, and 
the under surface will show through it. If too thick, it 
works with difficulty, and has a rough appearance. 

The paint being now ready for use, we must speak of 
the brushes employed to lay it on. 

Brushes are, in shape, either round or flat. The latter 
are used principally in varnishing and in graining ; but in 
common painting, round brushes are generally used ; though 
it has been doubted whether flat brushes would not be 
preferable, since the painter generally works his brushes 
so as to impart to them two flattish surfaces. 

The round brushes are from a quarter of an inch to three 
inches in diameter, according to the purpose to which they 
are to be applied. In general they are made of hog's 
bristles. The largest are frequently used first as dusters, 
by which they are softened, and better prepared for paint- 



THE PAINTER'S HAND-BOOK. 17 

ing-brushes, in which state they are used for painting large 
surfaces. Smaller surfaces, such as mouldings, are painted 
with sash-tools, which are an intermediate size between 
the large brushes and fitches ; the latter are very small 
brushes bound with tinned-iron* instead of string. Camel 
and sable-hair pencils are sometimes, but not frequently, 
employed by the house-painter. 

Suppose now that new wood-work is to be painted. The 
first process is that of knotting. As the knots in a piece 
of wood generally present the ends instead of the side of 
the grain to the eye, it is necessary to give the knots an 
additional coat of paint 5 which, by filling up the pores, 
shall leave the surface fit to present a solid and uniform 
appearance when painted. The knotting is made of red 
lead, litharge, and boiled oil, or spirits of turpentine. For 
interior work, red lead ar 
out any other substance. 

When the knotting is dry, the first coat of paint, called 
priming, is applied. This is, in almost all cases, white lead. 
It is not often that the painter grinds his own white lead, 
since it is found cheaper in the end to purchase it ready 
ground, and packed in a cask. The painter also gets rid 
of a very unwholesome part of his business by that means. 

The priming is made thinner than any of the subsequent 
coats, the liquid being oil and turpentine mixed, the for- 
mer predominating. When the priming is dry, the nail 
holes and other depressions are filled with putty, and the 
whole is well dusted. After which the second color is 
given^ which has the usual consistence of oil paint. A 
general mode of hastening the drying is to add half an 
ounce of dryers, either sugar of lead or litharge (the former 
being the best), to a pound of paint. Where the color is 
intended to be white, it is useful to give a blue tinge to 
the white by a little Prussian blue, as a smoky atmo- 
sphere soon turns a pure white to a dingy yellow. As a 
general rule, the preparatory coats of paint are white, 
whatever the finishing color is to be. But when the lat- 
ter is dark, a cheap red color is frequently used for the 
second and third coats. 



* That which is, in common parlance, called tin, is, in almost every 
case, iron-plate covered with a very thin layer ; of tin to preserve it from 
rusting. It then acquires the name 6f tin-plate. '; ^ 



18 THE PAINTER'S HAND-BOOK. 

The manner of using the brush is an art which practice 
alone will give. Sometimes long strokes of the brush are 
desirable ; at others shorter strokes, or a kind of dabbing, 
are necessary, especially in ornamental work. The brash 
is moved in cross directions, in order that every part may 
be equally covered, and the final stroke, called the '' lay- 
ing-off," is generally done in the direction of the grain. In 
painting paneled doors, attention must be paid to the 
grain of the wood, since the direction of the grain in the 
cross stiles is at right angles to that in the panels ; and 
every endeavor must be made to obliterate the marks of 
the brush. In painting the mouldings round the panels, 
a small brush or fitch is employed. It is convenient to 
have a little of the paint on a palette, in which the fitch 
can be dipped ; the fitch, when brought to a point, is more 
calculated to work neatly; and this can be better effected 
by the use of a palette than by dipping the fitch in the 
pot of paint. 

As a general rule, it may be stated, that when a glossy sur- 
face is to be produced, the color is thinned with oil instead of 
turpentine ; but when a flat or dead surface is wanted, 
turpentine is emplo} r ed in preference. The last coat, when 
a perfectly dead or dull surface is required, is called fiat- 
tmg, and is done with paint mixed wholly with turpentine, 
no linseed oil being employed. This is a very unwhole- 
some part of the painter's business, since the turpentine 
evaporates rapidly, and is inhaled with the air. It is this 
rapid evaporation which removes all the gloss ; for if oil be 
employed, a gummy resin remains behind, when the paint 
has dried, which yields the glossy surface. A bastard fiat 
contains a little oil mixed with the turpentine, and is more 
durable than when turpentine alone is employed. 

The number of coats of paint which work requires, de- 
pends partly on whether it has been painted before. New 
work should have four or five coats; but two or three will 
suffice for wood-work which has been previously painted. 
Sometimes, instead of the oil priming, painters use clear- 
cole, made of size. But this is a bad practice, since the 
size is apt to peel off, and of course to bring off with it all 
the paint which may be laid on it. 

The number of coats of paint which a job is to receive 
is expressed technically thus : Clearcole and finish ; two 
coats in oil ; two coats in oil, and flat ; three coats in oil 



THE PAINTER'S HAND-BOOK. 19 

three coats in oil, and flat, according to the number of 
coats, and whether the last coat is or is not to be flatted. 
The second color is generally white, the same as the prim- 
ing ; but the ground color, or that which precedes the fin- 
ishing coat, is the same color as the latter, but a little 
darker in shade. 

When old work, or that which has been previously 
painted, is to be repainted, care must be taken that all 
grease and dirt are removed from the old paint before the 
new is applied. For this purpose it should be washed, if 
necessary, with water containing soda or pearl-ash ; or the 
greasy parts should be well washed with turpentine. The 
paint which is afterwards laid on is distinguished from 
that necessary for new work in these particulars — that a 
smaller number of coats will suffice ; and that a larger 
proportion of turpentine must be employed ; in other re- - 
spects the modes of mixing and using are much the same 
for new and for old work. If a roughness exist on the sur- 
face of the old paint it is necessary to rub it down with 
pumice stone, or even to burn off the paint. 

We may here make a few remarks respecting the treat- 
ment of the brushes used by the painter. A brush should 
never be allowed to get dry while any paint is in it, for it 
can never afterwards be thoroughly cleaned. If it be 
necessary to use a brush with two diiferent colored paints, 
it must be washed before being transferred from one color 
to another. This may be done either in oil or in turpen- 
tine, and afterwards in hot soap-suds. But it is always 
better to devote a brush or set of brushes to each color. 
In this case, it is necessary that a brush, when not in use, 
should be kept in water, to prevent the hairs from drying 
and hardening together. The water, however, has a tenden- 
cy to rot the string with which the hairs are bound round. 
It is therefore desirable that, instead of the coating of glue 
which is laid on the string, and which is soon softened by 
the water, a coating of resin should be laid on, which will 
effectually preserve the string from the action of the 
water. When the hairs of a brush are getting loose, they 
may often be kept in their places by driving a wedge in 
between the handle and the hairs. 

We must now speak of a very pleasing part of the 
painter's business, viz., graining and marbling; that is, 
such a disposition of colors as will imitate the grain, knots, 



20 THE PAINTER'S HAND-BOOK. 

&q,, of different kinds of wood, and the veins and spots of 
different kinds of marble. As the skill to effect these 
imitations rests solely on an attentive survey of the objects 
to be imitated, there seems no good reason why an intelli- 
gent painter should not acquire the necessary talent ; and 
yet those who are engaged in this kind of painting are 
distinct from the common house-painter, and receive higher 
wages. In many cases, however, both branches are per- 
formed by the same individual ; and we shall, therefore, 
treat briefly of the processes. It ought to be well under- 
stood, before an apprentice is placed to a plumber, painter, 
and glazier, whether he will learn graining, as well as the 
other departments of painting ; as the amount of the pre- 
mium paid ought to be influenced by this circumstance. 

As a general rule, graining is performed in distemper 
color, and afterwards varnished ; as the stiffness of oil 
color is found to be an obstacle to the effectual imitation 
of the grain of wood. Oak, however, which is frequently 
used for exterior work, such as street doors, &c, is fre- 
quently done in oil, as follows : 

The ground, or the last coat of paint previous to the 
graining color, is rotten stone and white lead, mixed with 
oil to a tint similar to the lightest parts of common oak. 
On this is laid a thin coating of the megilp, or graining 
color, which is a mixture of rotten stone, sugar of lead and 
white wax. In a few minutes the graining comb is applied, 
which is a comb with short, straight, thick teeth. This is 
drawn along the wet surface in a waving line, by which an 
effect is produced similar to the grain of the wood. A 
piece of leather is now wrapped round the end of the fin- 
ger or of a stick, and with it the paint is wiped off in little 
patches, spots, or lines, in imitation of the light spots ob- 
served in oak. In this state the grain has an appearance 
of hardness, which has an unpleasing effect ; to remove 
this, a dry brush is dabbed over it, by which a softening 
effect is produced. When the graining color is dry, the 
dark veins are imitated by putting on a little Vandyke 
brown, ground in ale. 

To imitate oak in distemper, the same ground may be 
used as for oil ; but the graining color is burnt and raw 
umber, and Vandyke brown, which are ground in beer 
and applied with a brush. The graining is now effected, 
not with combs, as in the last case, but with tools madt 



THE PAINTER'S HAND-BOOK. 21 

on purpose, called mining brushes. The light and dark 
patches, veins, &c, are produced much in the same way as 
in the former instance. When the whole is dry it is var- 
nished, both for the sake of producing a gloss, and for du- 
rability ; since the graining color, being mixed with beer, 
is not of a permanent nature, and requires varnish to pre- 
serve it. 

Mahogany is generally imitated in distemper. The 
ground is a mixture of Venetian red with white lead, and 
a little crimson lake, if the mahogany to be imitated is 
Spanish. The graining color, which consists of Vandyke 
brown, or sienna, ground in beer, is then laid on in a thin 
coat. This, by being dabbed with a sponge, will give the 
light parts. A badger-hair brush, called a softener, is then 
drawn lightly across the light and dark parts, by which 
the edges of division between them are softened. When 
this is dry the deeper tints of the veins, knots, &c, are 
put in with a darker shade of Vandyke brown. " The soft- 
ener is then again used to mellow the whole. 

Rosewood requires a brilliant ground. A mixture of 
vermilion, lake, and flake white, is useful for this purpose. 
The graining material is of Vandyke brown, as in the case 
of mahogany, but more opaque and solid. This must be 
laid on in a peculiar way, so as to imitate the remarkable 
contortions of grain so frequently observed in rosewood. 
The light and dark patches, veins, knots, &c, are pro- 
duced much in the same manner as in the case of mahoga- 
ny, but with a careful attention to the distinctive charac- 
ter of the two kinds of wood. 

The ground for satin-wood is the same as for light oak. 
The graining color is Oxford ochre, ground in ale, and is 
laid on in a thin coat. This is then dappled by letting a 
sponge fall on various parts of it, by which portions of the 
color are taken off. The edges of these dappled patches are 
then softened with the badger softener, as in other cases. 
When this is dry, a flat graining-brush is dipped in umber 
and terra sienna, ground in ale, and is passed along the 
work in a waving direction, by which a kind of grain is 
produced, which is softened in the same way as before. 

Maple requires the same ground, and nearly the same 
graining colors, as satin-wood; the principal point of 
difference being in the course and nature of the grain, 
veins, &c. 



22 THE PAINTER'S HAND-BOOK. 

The ground for walnut wood is yellow ochre, umber and 
white ; and the graining color, for dark veins, &c, is raw 
umber. 

It is not necessary for us to proceed with further details 
on this subject, as it is quite impossible to give, in writing, 
that information which can only be rightly understood by 
personal practice. We may make the following general 
remarks on the subject : Almost all woods whose grain is 
of a fanciful or elegant form, such as oak, both light and 
dark, pollard oak, Honduras and Spanish mahogany, rose- 
wood, Russian and bird's-eye maple, satin-wood, coral 
wood, zebra wood, elm, black walnut, &c, may be imi- 
tated. The principle of imitation is, that a groundwork 
shall be laid on, nearly the same tint as the lightest parts 
of the wood to be imitated, and which color is ground in 
oil. On this, when dry, is laid a thin coating of a trans- 
parent color, which is mixed, not with oil, but with beer; 
and which is so treated with a comb, a softener, a leather, 
&c, as to yield a resemblance to the grain of the wood 
which is to be imitated. After this is dry, the darker 
parts are put in with a small brush or pencil, in such places 
and in such quantity as may be deemed desirable. The 
whole, when dry, is then varnished once or twice. 

The imitation of marbles is very similar to that of 
woods ; since a study of the natural appearance of marbles 
is the only way to acquire a knowledge of the best modes 
of producing imitations of them. A few brief remarks on 
this subject will be sufficient. 

Marbles, if intended to be exposed to the weather, 
should be done in oil ; otherwise distemper may suffice. 
For the Cipolin, or white-grained marble, the ground is 
white, and the dark veins are of white, black, and Indian 
red, mixed together. If the marbling is done in distem- 
per, the walls should be first whitewashed, and should then 
have a coating of whiting and milk. Lamp-black, damp 
blue, and Indian red, are then prepared in milk, and laid 
on with small brushes, according to the directions of the 
veins. A softness in the appearance of the veins is indis- 
pensable to the beauty of the marble imitation, and is pro- 
duced by a peculiar mode of handling the brush, called by 
the painters scumbling. 

Dove-colored marble has a ground of a light lead color ; 
Florentine marble has a ground of white, Indian red, and 



THE PAINTERS HAND-BOOK. 23 

black, mixed together ; sienna marble, a ground of yellow 
ochre ; and green marbles, such as verde antique, Egyptian 
marble, and serpentine, have a black ground. In all these 
cases the veins must be put in with such colors as will 
most successfully imitate the pattern of the original mar- 
bles. Sometimes it is necessary to lay on two or three 
very thin coats of the veining color, or two coats at one 
place and only one at another. Sometimes large patches 
are dabbed on with a brush, and partially wiped off again, 
and the edges softened down. The spotted appearance of 
porphyry is produced in a remarkable manner. After the 
ground is prepared, a large brush is dipped in vermilion 
and white, and suffered to drain tolerably dry. The han- 
dle of the brush is then struck against a piece of wood, or 
the back of a knife, so that a sprinkling of drops falls on 
the work. When this is dry, another sprinkling of a 
darker color is prepared, and then another of white paint ; 
by which time the original ground is nearly covered with 
three series of spots. Spotted marble of different kinds, 
and granite, may be imitated by similar means. 

It will be sufficient to remark, in concluding these de- 
tails, that by such means as we have described, marbles of 
all the different kinds may be imitated, such as Schiola, 
Valentia, Lumachelli, Bardiglio, Dolomite, Arragon, black 
and gold marble, &c. 

Another branch of business, which is sometimes exer- 
cised by itself, sometimes conjointly with graining, and at 
other times by the common painter, is inscription writing; 
that is, writing inscriptions over shop windows, &c. The 
principal difficulty in this art is to be able to impart a bold, 
free, and correct shape to letters, whether of the Roman, 
Italic, or Egyptian character, and whether they be as 
small as one inch, or as large as three or four feet, in di- 
ameter. Considerable practice is indispensably necessary 
to the acquisition of skill in this department, and written 
instructions are worth but little. As a general rule, we 
may observe that in all the Roman capitals except I, J, M, 
and W, the extreme breadth equals the height ; the 
breadth of I and J is equal to half the height ; and that of 
M and W is equal to one and a half times the height. 
These are, we believe, the type-founders' rules for Roman 
capitals of a medium character between the grotesque ex- 
tremes so often observed. 



24 THE PAINTER'S HAND-BOOK. 

Sometimes letters are merely painted of a black, white, 
yellow, or some other color. But at other times they are 
gilt ; in which case the form of the letter is written with 
Japan gold-size, a substance which soon acquires such a 
state between wetness and dryness, that leaf-gold, when 
laid on it, adheres perfectly and strongly. The gold is 
laid on from the books in which it is purchased from the 
gold beater. This is a process in which much gold, is 
wasted, as the sheets in which it is purchased are square. 
Raised wooden letters have now, to a great extent, super- 
seded those of which we have been speaking. 

The process of varnishing, in which the painter is 
sometimes engaged, is not so different from that of paint- 
ing as to require a very long notice. A few remarks will 
suffice. 

Varnishes are compounds of gummy or resinous sub- 
stances with fluids in which they will melt easily, and 
which will soon evaporate when laid on in a thin stratum, 
leaving the resinous body as a glossy film. 

The resinous bodies employed are distinguished among 
themselves into hard and soft ; the hard being those which 
will dry quickly when used in the form of varnish, and 
the soft those which will not crack when hardened, 
which hard resins are apt to do. It is therefore usual to 
employ two or more kinds of resins or gums, in order to 
combine the qualities of both hard and soft. The hard 
resins usually emplo} 7 ed in varnishes, are such as copal, 
amber, inastich, sandarach, lac, &c; and the soft, such as 
Canada balsam, elemi, capivi, turpentine, &c. The 
liquids in which these are melted, are generally spirits of 
wine , essential oil of turpentine, and strong white drying 
oil. 

The different varnishes which may be made are almost 
innumerable, since every substance which will leave a gloss 
on the surface of work, is, in effect, a varnish. It is there- 
fore no part of our present object to detail the modes of 
manufacturing varnish, especially as the painter buys them 
ready-made. 

Varnishes prepared with spirits of wine are used chiefly 
for articles of furniture and internal decoration ; but not 
for any object requiring exposure to the weather. Mas- 
tich varnish is used principally for pictures. The most 
useful varnishes for the house-painter are copal, linseed 



THE PAINTER'S HAND-BOOK. 25 

oil, and turpentine varnishes. In some cases, such as 
in graining and marbling, varnish is applied after the 
painting is finished, for the double purpose of fixing 
and preserving the paint, and producing a gloss. In 
other cases, where a fine gloss is required to oil paint, 
either a coat of varnish is given when the paint is dry, or 
a little varnish is mixed with the oil in making up the 
paint. In some rare instances, varnish is mixed with dis- 
temper color. 

The brushes used in varnishing are generally flat, so 
as to enable the workman to lay a smooth, even surface 
of varnish on the work. Varnishes are usually kept in 
wide-mouthed bottles ; from which they are poured into 
tin varnish pans, which are sold by the color-man, and 
which have a false bottom above the real bottom, the in- 
terval between the two being filled with sand. When 
the pan is held over the fire for a short time the sand be- 
comes heated, by which the varnish above it is kept from 
being chilled. 

The varnish which has been applied to a painted surface 
is sometimes polished, by rubbing it with a close coil of 
list or cloth, dipped in prepared Tripoli powder, or putty 
powder, or in one of the various polishes which have been 
prepared for that purpose. French polishing is generally 
applied to the bare surface of wood; such as mahogany, 
rosewood, &c, without the intervention of any kind of 
paint ; and is usually performed by a class of persons dis- 
tinct from house-painters. 

Painting in distemper is a process which we need not 
dwell upon. The colors employed are generally some of 
those we have mentioned, and a few others which cannot 
be made up into oil paints ; and the medium in which 
they are used is size, which the painter or plasterer pur- 
chases ready for use, and which only requires melting. 
The surface to be painted must be perfectly free from 
grease ; and a coating of warm size is put on previously to 
the color. The color is made much thinner, or more liquid, 
than oil paint. 

A species of distemper painting in which milk is em- 
ployed, is sometimes adopted, to obviate the unwholesome 
smell resulting from new oil paint. Skimmed milk, slaked 
lime, poppy oil, and Spanish white, are mixed in certain 



26 THE PAINTER'S HAND-BOOK. 

proportions, and laid on as distemper, which may be 
colored if desired. It is doubtful, however, whether this 
possesses the durability of oil paint. 

The painter has scope for displaying much taste, in 
what is called ornamental painting ; that is, ornamenting 
the walls of rooms with representations of flowers, 
wreaths, mouldings, &c. The patterns for this purpose 
may be the result of his own invention, or they may be 
taken from the patterns of the paper-hangers, or the}' may 
be borrowed from published books containing scroll orna- 
ments, &c. 

A knowledge of the effects of light and shade is 
indispensable in this kind of painting ; and the employ- 
ment is so far an exercise of taste, that the workman who 
succeeds at it may rank himself above the common house - 
painter. 

If the painter have a tolerable skill in drawing, an orna- 
ment may be sketched on the wall with a pencil, according 
to his taste ; but if not, he procures the requisite pattern 
>n a piece of paper, and pricks the outline and principal 
parts full of holes. He then places the paper against the 
wall, and dabs it with a small bag containing charcoal pow- 
der. The powder goes through the holes, and leaves on 
the wall marks sufficiently distinct to guide the painter in 
tracing the figure. 

Sometimes the wall is so painted as to resemble panel- 
ing. In this case it is often necessary to draw a long, 
straight, narrow line — a process which demands a steady 
hand to guide the pencil of paint along the edge of a ruler 
or lath. 

Clouding a ceiling, or painting a ceiling to imitate 
clouds, is another part of ornamental painting, in which 
success greatly depends upon a watchful observation of sky 
,nd clouds, as they are presented to us by nature. The 
ornamental painter is, in fact, an artist, and, like an artist, 
he should draw his patterns from the pure models which 
natural objects afford. We need scarcely, therefore, impress 
upon any one who is about to enter upon this branch of 
business, the importance of acquiring a knowledge of 
drawing ; as that knowledge will be the most important 
instrument in his subsequent progress. 



THE PAINTER'S HAND-BOOK. 27 

CHOICE AND DISTRIBUTION OF COLORS. 

If a person were to play three different notes on a 
piano-forte, or if three persons were to play different 
notes on three instruments, the effect would be pleasing 
or unpleasing to an auditor, according to the relation 
between the notes produced. If the notes had those rela- 
tions to one another which musicians call a third and a fifth, 
the effect would be agreeable ; but if the intervals were 
either a little greater or a little less, the effect would be 
disagreeable. 

Now similar effects are produced on the eye by the har- 
mony and discord of colors. We cannot tell why the ear 
requires a certain relation to exist between the musical 
sounds that are uttered ; nor can we tell why the eye re- 
cogniezs a similar relation in colors; but so it is. If 
gaudy blue, green, red, and yellow, be used on the walls 
of an apartment, without order or system, the effect upon 
the eye is not so pleasing as when the colors, even if less 
brilliant, are disposed in certain relations to one another. 
The way in which a harmony of colors is to be considered 
is this : 

If we view a strong red light for a few seconds, and then 
direct our eyes to a sheet of white paper or other white 
object, a vivid green will present itself, of the same size 
and shape as the original object. Or if we place a red ob- 
ject on a white ground, and view it steadily for a few sec- 
onds, a green ring will soon surround the red object. If 
the object be blue, the secondary color will be orange ; if 
purple or violet, it will be yellow; and so on of other 
colors. 

Now this secondary color, which is sometimes called the 
accidental and also the complementary color, is that in 
which the eye seems to feel relief after having gazed for 
some time on the original color. Many theories have been 
formed for the explanation of the production of these sec- 
ondary colors, but none of them are conclusive or satis- 
factory. 

It is found that any color appears brighter and richer 
after the eye has rested for some seconds on the comple- 
mentary color, than without such aid. Hence it has been 
proposed so to arrange the colors of an apartment, that the 
eye should be relieved from any particular color by its 



28 THE PAINTER'S HAND-BOOK. 

complementary color. As the transition from one to the 
other would, however, be too abrupt, it is necessary to 
have an intermediate tint, which shall break the descent 
from one color to its complementary color. This tint, 
which has been called the harmonizing tint, may be the 
one next lower in brilliancy to the original color ; thus, 
red to orange, orange to yellow, &c. 

It may frequently happen that the decided change of 
color here implied may not be convenient, on account of 
the disposition of doors, windows, &c, to an apartment. 
In such a case it is better to adopt a neutral tint, than 
to employ any violent and staring colors. Where circum- 
stances, however, allow the painter scope for employing a 
contrasting color and also a harmonizing color, to the pre- 
vailing color of the apartment, the following table, which 
has been prepared by a practical writer, may be useful : 

Principal Harmonizing Contrasting 

color. color. color. 

White Light yellow Black. 

Yellow Orange Deep purple. 

Orange Bed Intense blue. 

Scarlet Crimson Intense green. 

Crimson Violet Yellowish green. 

Blue Indigo Orange. 

Green Yellow Intense red. 

Purple Crimson Yellow. 

Black Gray White. 

The colors are of course indefinite, since the number of 
shades and tints of color is incalculable ; but the table will 
give a general idea of what is meant by contrasting and 
harmonizing colors, the former being what we have termed 
the complementary colors. 

This attention to the harmony of colors should be paid 
not only to the paint on the walls, but also to the color of 
the furniture in the room. If the principles which regu- 
late color were fully acted on, the prevailing color of a car- 
pet and of the damask chairs, and sofas, &c, ought to reg- 
ulate the color of the paint on the wall and doors of a 
room. The position of a room with respect to the light 
which enters the windows, is also worthy of notice, since a 
northern aspect gives what is called a cold tone to the col- 
ors of a room, while a southern aspect gives a warm tone. 

We can do no more than indicate the propriety of a 
painter attending to those subjects ; any further details 
would exceed our limits. If cleanliness alone were the ob- 



THE PAINTEB'S HAND-BOOK. 29 

ject held in view in painting a house, it would be matter 
of small import what colors were employed ; but when an 
effect pleasing to the eye is desired, it is important to ana- 
lyze the nature of the pleasure which colors impart to us 
through the medium of the eye. Now, although house- 
painters have certain ill-defined rules on the subject of the 
choice of colors agreeable to the eye, yet no attempt, as 
far as we are aware, has been made to apply to house- 
painting the results of scientific inquiry on the nature of 
color, until late years. Painters not only recognize the pro- 
priety of combining colors according to certain effects pro- 
duced by them on the eye, but give what may be termed a 
mental tone to house-painting by drawing distinctions be- 
tween the colors of apartments according to the purposes to 
which the apartments are devoted — such as a subdued tone 
of color for a library ; fanciful and airy tones for a draw- 
ing-room, &c. Mr. Hay illustrates his remarks on the in- 
fluence of colors on the eye by referring to the great mas- 
ters in historical painting — shows that they appreciated 
the harmony of colors by the arrangement of the tints in 
their pictures, and justly observes that there is no reason 
why the walls of our apartments should not also exhibit 
such a distribution of colors as experiment has shown to 
be agreeable and harmonious to the eye. 

The reader will, by this time, have had opportunities for 
perceiving that there is something of chemistry and some- 
thing of taste concerned in the avocation of the painter ; 
and that there is in this, as in almost all trades, evidence 
that the intelligent apprentice or journeyman who takes 
the trouble to think for himself, will soon attain a supe- 
rior position to him who receives rules and dogmas from 
others, without inquiring how and why they are applica- 
ble in some cases and not in others. 

The various processes which we have enumerated as 
forming parts of the employment of the painter, are, of 
course, not all equally easy, and an apprentice would 
therefore be first employed at those which require least 
experience. There are many things to do before the 
painting-brush is employed. The colors, as we have ob- 
served, are purchased, generally speaking, in the form of 
dry powders or grains, and must be well ground before 
they can be mixed up with oil. This frequently devolves 
upon an apprentice, as considerable time is consr~ a A in 



30 THE PAINTER'S HAND-BOOK. 

the process. It would be a great improvement if machin- 
ery were employed for this purpose, as the exhalations and 
small particles are injurious to health ; but so long as man- 
ual labor is necessary, an apprentice may be profitably 
emploj^ed in this manner. 

In preparing work to receive a coating of paint, there 
is much which an apprentice can perform. Cutting off 
lumps, rubbing down roughnesses on the surface with 
pumice-stone, cleaning corners and the depressed parts of 
ornaments from dust and dirt, and using a dusting-brush 
over the whole, are useful employments for his time. In 
painting new wood-work, the knots are to be painted and 
the holes filled up with putty, before the general painting 
commences ; and this an apprentice can likewise do. The 
first coat of paint, or thin priming, can also be laid on by 
him. Iron railings, and rough exterior work, frequently 
receive a preparatory coat of coarse lead color, to which 
painters give the (not very elegant) name of " smudge ;" to 
lay on this smudge is a useful exercise for the apprentice in 
the use of the brush. 

There are many indispensable things which must be at- 
tended to — such as keeping pots, brushes, cloths, pumice- 
stone, color-boxes and barrels, oils, cans, &c, in a clean 
and proper state for use, about which an apprentice may 
be usefully employed. There are many parts, also, in 
which a journej-man requires an apprentice, or some other 
assistant, to be near him while at work ; and it is at such 
times that an apprentice becomes gradually accustomed to 
the nature and appearances of those processes in which he 
will afterwards be manually engaged. 

In ornamental painting, writing, graining, &c, it is cus- 
tom aiy for the master to give a young apprentice a piece 
of board or panel, and a specimen to copy from; and then 
to let him exercise himself in imitating the pattern which 
is set before him ; for, in his earlier attempts, it is merely 
the faculty of imitation which is brought into play : the 
exercise of taste and invention is developed at an after pe- 
riod, when a certain degree of mechanical tact has been 
acquired. 

It is to be regretted that the business of a painter is 
rendered very unhealthy, chiefly by the use of one ingre- 
dient — white lead. There are many processes in which he 
is concerned, such as grinding colors in which arsenic is 
contained, flatting, in which a rapid evaporation of turpen- 



THE PAINTER'S HAND-BOOK. 31 

tine takes place, &c, which are detrimental to health ; but 
the extensive use of white lead seems to be the most inju- 
rious. The painter is subject to a complaint commonly 
known as the painter 's colic, which is very distressing, and 
which seems to arise from habitual exposure to white lead 
in different states. 

Mr. Vanherman, a practical painter, after expressing a 
wish that experiments should be tried to produce a white 
pigment which would have the permanent and useful qual- 
ities of white lead without its injurious tendency, recom- 
mends a paint which is devoid of most of the unpleasant 
smell attending on oil paint, and which might perhaps 
prove less hurtful to the painter. His plan is to mix up 
white lead, raw linseed oil, spirit of turpentine, sulphate 
of lime, and turpentine varnish, in certain proportions, 
which form a flat, inodorous, white paint, to which dry 
colors may be added, if the paint is required to be tinted ; 
and oil is to be added, if a gloss is required. Such a com- 
position must be used extensively before its availability 
could be fairly estimated. We do not believe that this 
plan has been much acted upon — indeed, Mr. Vanherman 
complains of the jealousy with which his attempt has been 
regarded by master-tradesmen, who have felt that their 
interests may be interfered with by an invention which 
would make painting less insalubrious, and therefore prac- 
ticed by persons not bred to the trade. Into the justice 
oi this complaint we are not prepared to enter ; but we 
should sincerely regret if any narrow prejudice were to re- 
tard the introduction of improved processes. Mr. Van- 
h"_ A_«n directs that, besides the liquids which we have just 
nam^d, 10 lb. of sulphate of lime (known as "satin white") 
s^ci d be added to every 100 lh. of white lead employed in 
paint ; and that the liquid for giving the paint the proper 
degree of fluidity should not be oil and spirits of turpen- 
tine, as usual, but spirits of turpentine, spirit of wine, and 
oil of carraway, in the proportion of one gallon of the first, 
half a pint of the second, and half a gill of the third. The 
sulphate of lime is the ingredient to which Mr. Vanher- 
n: /.. attaches the most importance as a neutralizing agent; 
but as we have no other testimony of its excellent effect 
tlijuii what he has himself said, we shall do no more than 
indicate that such an attempt, which all should consider 
praiseworthy, has been made to lighten the evils to which 



32 THE PAINTER'S HAND-BOOK. 

the painter is exposed ; and to suggest to those who are 
practically engaged in the occupation, the propriety of 
turning their attention to this important subject. 

The painter' 1 s colic afreets all those who are constantly 
engaged with white lead. Sir John Sinclair has estimated 
that, of the men engaged in white lead works, one in three 
dies annually. If the pain attending this complaint be 
very great, it has been recommended to lull the senses 
with a little opium, while castor oil is to be used to pro 
duce a more permanent benefit. Ardent spirits, which 
are too often resorted to, aggravate the complaint, although 
they may assuage the pain for a time. If the colic be not 
promptly attended to, it frequently brings on palsy and 
paralysis in other parts of the frame. Sometimes a painter 
has a weakness or palsy of the wrists. This is supposed 
to be occasioned partly by the fumes of white lead, as be- 
fore observed, and partly by handling the brushes, paint- 
pots, &c, by which the subtle poison insinuates itself 
through the pores of the skin. 

Dr. Pemberton, in a treatise on abdominal diseases, 
states that a man was brought to the hospital whose 
wrists were palsied through the effects of lead ; the hands 
hung down from the wrists in a perfectly useless manner. 
Dr. Pemberton applied to his arm a splint, or kind of 
trough, into which the arm, wrist and hand were laid out 
straight, and securely bandaged. After the lapse of a 
month, the man could raise a weight of eight ounces to a . 
level with his forearm, and in five weeks more he entirely 
recovered the use of his arm. His left arm, which had 
not been so treated, remained wholly useless. This plan 
is worthy of the notice of those who are engaged in the 
use of white lead in any of its forms. 

The mercury, arsenic and verdigris, which are contained 
in many paints, are also injurious to the system in many 
ways ; but the quantities employed by the painter are not 
large. Turpentine, also, gives out fumes which occasion a 
nausea and sickness in the stomach. 

From these evils attending his employment, the paint- 
er's best preservatives are cleanliness and sobriety. A neat 
mode of handling his brushes, frequent washing of the 
skin, frequent renewal of clean linen, and a good supply of 
fresh air, and sobriety in living, are the things to be desirecL 



THE PAINTER'S HAND-BOOK. 33 

^ 5.— RECIPES FOR COLORS. 

Blue Colors. — Blue belongs to the order of vegetable 
substances, like indigo ; or to that of metallic substances, 
like Prussian blue ; or to that of stony mineral substances, 
as ultramarine ; or to that of vitreous substances colored 
by a metallic oxide, as Saxon blue. Ultramarine is more 
particularly reserved for pictures. The same may, in some 
degree, be said of saxon blue. 

When prussiate of iron or indigo is employed without 
mixture, the color produced is too dark. It has no splen- 
dor, and very often the light makes it appear black ; it is, 
therefore, usual to soften it with white. 

Blue Distemper. — Grind with water as much ceruse 
as may be thought necessary for the whole of the intend- 
ed work ; and afterwards mix it with indigo, or Prussian 
blue. 

This color produces very little effect in distemper ; it is 
not very favorable to the play of the light ; but it soon ac- 
quires brilliancy and splendor beneath the vitreous lamina 
of the varnish. Painting in distemper, when carefully var- 
nished, produces a fine effect. 

Blue Yerdxter may be ground with pure alcoholic 
varnish added to a little essence ; and may be mixed up 
with compound mastich varnish if the color is to be applied 
to delicate articles. Or mastich gallipot varnish, added to 
a little drying oil, may be used for grinding, and common 
gallipot varnish for mixing up, if the painting is intended 
for ceilings, wainscoting, etc. This color is soft and dull, 
and requires a varnish to heighten the tone of it, and give 
it play. Turpentine copal varnish is proper for this pur- 
pose, if the article has need of a durable varnish. 

Bright Red. — A mixture of lake and vermilion gives 
that beautiful bright red which painters employ for san- 
guine parts. This red is sometimes imitated for varnishing 
small appendages of the toilette. It ought to be ground 
with varnish and mixed up with the same, after which it is 
glazed and polished. The mastich gallipot varnish is used 
for grinding ; gallipot varnish for mixing up, and camphor- 
ated mastich varnish for glazing. 

Black Color, Fine. — Take some camphor and set it on 
fire ; from the flame will arise a very dense smoke, which 
may be collected on a common saucer by holding it over 



31 THE PAINTER'S HAND-BOOK. 

the flame. This black, mixed with gum arabic, is far su- 
perior to most India-ink. 

Miniature painters, who use colors in small quantities, 
sometimes obtain a most beautiful and perfect black by 
using the buttons which form on the snuff of a candle, 
when allowed to burn undisturbed. These are made to 
fall into a small thimble, or any other convenient vessel 
which can be immediately covered with the thumb, to ex- 
clude the air. This is found to be perfectly free from 
grease, and to possess every desirable quality. 

Black Paint. — Usage requires attention in the choice 
of the matters destined for black. The following are their 
properties : 

Black from peach stones is dull. 

Ivory-black is strong and beautiful when it has been well 
attenuated under the muller. 

Black from the charcoal of beech-wood, ground on por- 
phyry, has a bluish tone. 

Lamp-black may be rendered mellower by making it with 
black which has been kept an hour in a state of redness in 
a close crucible. It then loses the fat matter which accom- 
panies this kind of soot. 

Black furnished by the charcoal of vine twigs, ground 
on porphyry, is weaker, and of a dirty gray color when 
coarse and alone, but it becomes blacker the more the 
charcoal has been divided. It then forms a black very 
much sought after, and which goes a great way. 

Black from Wine-lees. — This black results from the 
calcination of wine lees and tartar, and is manufactured on 
a large scale in some districts of Germany, in the environs 
of Mentz, and even in France. This operation is performed 
in large cylindric vessels, or in pots, having an aperture in 
the cover to afford a passage to the smoke, and to the acid 
and alkaline vapors which escape during the process. When 
no more smoke is observed, the operation is finished. The 
remaining matter, which is merely a mixture of salts 
and a carbonaceous part very much attenuated, is then 
washed several times in boiling water, and it is reduced 
to the proper degree of fineness by grinding it on por- 
phyry. 

if this black be extracted from dry lees, it is coarser 
than that obtained from tartar, because the lees contain 
earthy matters which are confounded with the carbonaceous 
part. 



THE PAINTER'S HAND-BOOK. 36 

This black goes a great way, and has a velvety appear- 
ance. It is used chiefly by copper-plate printers. 

Another. — Peach-stones, burnt in a close vessel, produce 
a charcoal, which, when ground on porphyry, is employed in 
painting to give an old gray. 

Another. — Yine twigs reduced to charcoal give a bluish, 
black, which goes a great way. When mixed with, white 
it produces a silver white, which is not produced by other 
blacks; it has a pretty near resemblance to the black 
of peach-stones, but to bring this color to the utmost 
degree of perfection, it must be carefully ground on por- 
phyry. 

Chamois and Buff Color. — Yellow is the foundation 
of chamois color,, which is modified by a particle of min- 
ium, or what is better, cinnabar and ceruse in small quan- 
tity. This color may be employed in distemper, varnish, 
and oil. For varnish, it is ground with half common oil of 
pinks, and half of mastich gallipot varnish. It is mixed with 
common gallipot varnish. For oil painting, it is ground and 
mixed up with drying oil. 

Cheap Outside Paint. — Take two parts (in bulk) of 
water-lime ground fine, one part (in bulk) of white lead 
ground in oil. Mix them thoroughly, by adding best boiled 
linseed-oil enough to prepare it to pass through a paint-mill, 
after which, temper with oil till it can be applied with a 
common paint-brush. Make any color to suit. It will last 
three times as long as lead paint, is superior, and costs not 
one-fourth as much. 

Chestnut-Color. — This color is composed of red, yel- 
low and black. The English red, or red ochre of Auvergne, 
ochre de rue and a little black, form a dark chestnut-color. 
It is proper for painting of every kind. If English, red, 
which is dryer than that of Auvergne, be employed, it 
will be proper, when the color is intended for varnish, to 
grind it with drying nut-oil. The ochre of Auvergne may 
be ground with the mastich gallipot, and mixed up with 
gallipot varnish. 

The most experienced artists grind dark colors with lin- 
seed oil, when the situation will admit of its being used, 
because it is more drying. For articles without doors nut- 
oil is preferable. The colors of oak-wood, walnut-tree, 
chestnut, olive, and yellow, require the addition of a little 



36 THE PAINTER'S HAND-BOOK. 

litharge ground on porphyry ; it hastens the desiccation of 
the color, and gives it body. 

But if it is intended to cover these colors with varnish, 
as is generally done in wainscoting, they must be mixed up 
with essence, to which a little oil has been added. The 
color is then much better disposed to receive the varnish, 
under which it exhibits all the splendor it can derive from 
the reflection of the light. 

Crimson, or Rose-Color. — Carminated lake — that 
which is composed of alum charged with the coloring 
part of cochineal, ceruse, and carmine — forms a beautiful 
crimson. It requires a particle of vermilion and of white 
lead. 

The use of this varnish is confined to valuable articles. 

Distemper in Badigeon, To. — Badigeon is employed 
for giving an uniform tint to houses rendered brown by 
time, and to churches. Badigeon, in general, has a yel- 
low tint. That which succeeds best is composed of the 
saw-dust or powder of the same kind of stone and slacked 
lime, mixed up in a bucket of water holding in solution 
one pound of the sulphate of alumina (alum). It is applied 
with a brush. 

At Paris, and in other parts of France, where the large 
edifices are constructed of a soft kind of stone, which is 
yellow, and sometimes white when it comes from the 
quarry, but which in time becomes brown, a little ochre 
de rue is substituted for the powder of the stone itself, 
and restores to the edifice its original tint. 

A Dryer for Painting. — Vitreous oxide of lead 
(litharge), is of no other use in painting than to free oils 
from their greasy particles, for the purpose of communi- 
cating to them a drying quality. Red litharge, however, 
ought to be preferred to the greenish yellow ; it is not 
so hard, and answers better for the purpose to which it is 
destined. 

When painters wish to obtain a common color of the 
ochrey kind, and have no boiled oil by them, they may 
paint with linseed oil, not freed from its greasy particles, 
by mixing with the color about two or three parts of lith- 
arge ground on a piece of porphyry with water, dried and 
reduced to fine powder, for sixteen parts of oil. The color 
has a great deal of body, and dries as speedily as if mixed 
with drying oil. 



THE PAINTER'S HAND-BOOK. £7 

Green Color. — Every green color, simple or compound, 
when mixed up with a white ground, becomes soft, and 
gives a sea-green of greater or less strength, and more or 
less delicate, in the ratio of the respective quantities of the 
principal colors. Thus, green oxides of copper, such as 
chrome green, verdigris, dry crystallized acteate of copper, 
green composed with blue verditer, and the Dutch pink of 
Troyes, or any other yellow, will form, with a base of a 
white color, a sea-green, the intensity of which may be 
easily changed or modified. The white ground for painting 
in distemper is generally composed of Bougival white 
(white marl), or white of Troyes (chalk), or Spanish white 
(pure clay) ; but for varnish or oil painting, it is sought for 
in a metallic oxide. In this case, ceruse or pure white ox- 
ide of lead is employed. 

Flaxen Gray. — Ceruse, or white lead, still predomin- 
ates in this color, which is treated as the other grays, but 
with this difference, that it admits a mixture of lake in- 
stead of black. Take the quantity, therefore, of ceruse 
necessary, and grind it separately. Then mix it up, and 
add the lake and Prussian blue, also ground separately. 
The quantities of the last two colors ought to be propor- 
tioned to the tone of color required. 

This color is proper for distemper, varnish, and oil paint- 
ing. For varnish, grind it with mastich gallipot varnish, 
to which a little oil of pinks has been added, and then 
mix it up with common gallipot varnish. For oil paint- 
ing, grind with unprepared oil of pinks, and mix up with 
resinous drying nut-oil. The painting is brilliant and 
solid. 

When the artist piques himself upon carefully pre- 
paring those colors which have splendor, it will be 
proper, before he commences his labor, to stop up the 
holes formed by the heads of the nails in wainscoting, with 
putty. 

Every kind of sizing which, according to usual cus- 
tom, precedes the application of varnish, ought to be 
prescribed as highly prejudicial, when the wainscoting 
consists of fir-wood. Sizing may be admitted for plas- 
ter, but without any mixture. A plain stratum of 
strong glue and water spread over it is sufficient to fill 
up the pores to prevent any unnecessary consumption of 
the varnish. 



38 THE PAINTER'S HAND-BOOK. 

The first stratum of color is ceruse without any mix- 
ture, ground with essence added to a little oil of pinks, 
and mixed up with essence. If any of the traces 
are uneven, rub it lightly, when dry, with pumice- 
stone. This operation contributes greatly to the beauty 
and elegance of the polish when the varnish is applied. 

The second stratum is composed of ceruse changed to 
llaxen gray by the mixture of a little Cologne earth, as 
much English red or lake, and a particle of Prussian blue. 
First, so make the mixture with a small quantity of cer- 
use, that the result shall be a smoky gray, by the addition 
of the Cologne earth. The red, which is added, makes it 
incline to flesh-color, and the Prussian blue destroys the 
latter to form a dark flaxen gray. The addition of ceruse 
brightens the tone. This stratum and the next are ground, 
and mixed up with varnish as before. 

This mixture of colors, which produces flaxen gray, has 
the advantage over pearl gray, as it defends the ceruse 
from the impression of the air and light, which makes it 
assume a yellowish tint. Flaxen gray, composed in this 
manner, is unalterable. Besides, the essence which forms 
the vehicle of the first stratum contributes to bring forth 
a color, the tone of which decreases a little by the effect 
of drying. This observation ought to serve as a guide to 
the artist, in regard to the tint, which is always stronger 
in a liquid mixture than when the matter composing it is 
extended in a thin stratum, or when it is dry. 

Flexible Paint. — Take of good yellow soap, cut into 
slices, two and a half pounds ; boiling water, one and a 
half gallons. Dissolve, and grind the solution while hot 
with one quarter hundred weight of good oil-paint. Used 
to paint on canvas. 

Golden Yellow Color Cases often occur when it is 

necessary to produce a gold color without employing a 
metallic substance. A color capabb of forming an illusion 
is then given to the composition, the greater part of which 
consists of yellow. This is accomplished by Naples or 
Montpellicr yellow, brightened by Spanish white, or by 
white of Morat, mixed with ochre de Berri and realgar. 
The last substance, even in small quantity, gives to the 
mixture a color imitating gold, and which may be employed 
in distemper, varnish, or oil. When destined for oil, it is 



THE PAINTER'S HAND-BOOK. 39 

ground with drying or pure nut-oil, added to essence or 
mixed with drying oil. 

Ivory and Boneblack. — Put into a crucible surrounded 
by burning coals, fragments or turnings of ivory, or of the 
osseous parts of animals, and cover it closely. The ivory 
or bones, by exposure to the heat, will be reduced to char- 
coal. When no more smoke is seen to pass through the 
joining of the cover, leave the crucible over the lire for 
half an hour or longer, or until it has completely cooled. 
There will then be found in it a hard carbonaceous matter, 
which, when pounded and ground on porphyry with water, 
is washed on a filter with, warm water and then dried. 
Before it is used it must be again subjected to the matter. 

Black furnished by bones is reddish. That produced by 
ivory is more beautiful. It is brighter than black obtained 
from peach-stones. When mixed in a proper dose with 
white oxide of lead, it forms a beautiful pearl gray. Ivory- 
black is richer. The Cologne and Cassel-black are formed 
from ivory. 

Jonquil.— This is employed only in distemper. It may, 
however, be used with varnish. A vegetable color serves as 
its base. It is made with Dutch pink and ceruse, and 
ground with mastich gallipot varnish, and mixed up with 
gallipot varnish. 

Lampblack, Paints from. — The consumption of lamp- 
black is very extensive in common painting. It serves to 
modify the brightness of the tones of the other colors, or 
to facilitate the composition of secondary colors. The oil 
paint applied to iron grates and railing and the paint ap- 
plied to paper snuff-boxes, to those made of tin-plate, and 
to other articles with dark grounds, consume a very large 
quantity of this black. Great solidity may be given to 
works of this kind by covering them with several coatings 
of the fat turpentine, or golden varnish, which has been 
mixed with lampblack, washed in water, to separate the 
foreign bodies introduced into it by the negligence of the 
workmen who prepare it. 

After the varnish is applied the articles are dried in a 
stove by exposing them to a heat somewhat greater than 
that employed for articles of paper. Naples yellow, which 
enters into the composition of black varnish, is the basis 
of the dark brown observed on tobacco-boxes of plate-iron, 



40 THE PAINTER'S HAND-BOOK. 

because this color changes to brown when dried with the 
varnish. 

Lampblack, a Superior. — Suspend over a lamp a funnel 
of tin plate, having above it a pipe to convey from the 
apartment the smoke which escapes from the lamp. 
Large mushrooms, of a very black, carbonaceous matter, 
and exceedingly light, will be formed at the ^ummit of 
the cone. This carbonaceous part is carried to such a state 
of division as cannot be given to any other matter, by 
grinding it on a piece of porphyry. 

This black goes a great way in every kind of painting. 
It may be rendered drier by calcination in close vessels. 

The funnel ought to be united to the pipe which conveys 
off the smoke by means of wire, because solder would be 
melted by the flame of the lamp. 

Light Gray and Distemper, To Paint in. — Ceruse, 
mixed with a small quantity of lampblack, composes a 
gray, more or less charged, according to the quantity of 
black. With this matter, therefore, mixed with black in 
different doses, a great variety of shades may be formed, 
from the lightest to the darkest gray. 

If this color be destined for distemper, it is mixed with 
water ; if intended for oil painting, it is ground with nut- 
oil, or oil of pinks ; and with essence added to oil, if de- 
signed for varnish. This color is durable and very pure, if 
mixed with camphorated mastich varnish ; the gallipot var- 
nish renders it so solid that it can bear to be struck with a 
hammer, if, after the first stratum, it has been applied with 
varnish, and without size. For the last coating sandarach 
varnish and camphorated varnish are proper ; and for the 
darkest gray, spirituous sandarach varnish. 

Naples and Montpellier Yellow. — The composition 
of these is simple, yellow ochre mixed with ceruse, ground 
with water, if destined for distemper ; or drying nut-oil 
and essence, in equal parts if intended for varnish ; and 
mixed up with camphorated mastich varnish ; if for delicate 
objects, or with gallipot varnish, give a very fine color, the 
splendor of which depends on the doses of the ceruse, 
which must be varied according to the particular nature 
of the coloring matter employed. If the ground of the 
color is furnished by ochre, and if oil painting be intended, 
the grinding with oil added to essence may be omitted, as 



THE PAINTEE'S HAND-BOOS. 41 

essence alone will be sufficient, Oil, however, gives more 
pliability and more body. 

Oak-wood Color. — The basis of this color is still formed 
of ceruse. Three-fourths of this oxide, and a fourth of 
ochre de rue, umber earth, and yellow de Berri ; the last 
three ingredients being employed in proportions which lead 
to the required tint, give a matter equally proper for dis- 
temper, varnish and oil. 

Olive Color, for Distemper. — When intended for 
distemper, it will be necessary to make a change in the 
composition. The yellow above mentioned, indigo, and 
ceruse, or Spanish white, are the new ingredients which 
must be employed. 

Olive Color for Oil and Varnish. — Olive color is a 
composition, the shades of which may be diversified. Black 
and a little blue, mixed with yellow, will produce an olive 
color. Yellow de Berri, or d'Auvergne, with a little ver- 
digris and charcoal, will also form this color. 

It is ground and mixed up with mastich gallipot, and 
common gallipot varnishes. For oil painting, it is ground 
with oil added to essence, and mixed up with drying oil. 

Paint Fire-Places and Hearths, To. — The Genevese 
employ a kind of stone, known under the name of moiasse, 
for constructing fire-places and stoves, after the German 
manner. This stone is brought from Saura, a village of 
Savoy, near Geneva. It has a grayish color, inclining to 
blue, which is very agreeable to the eye. 'This tint is 
similar to that communicated to common white-washing 
with lime, chalk, or gypsum, the dullness of which is cor- 
rected by a particle of blue extract of indigo, or by char- 
coal black. 

Painter's Cream. — Painters who have long intervals 
between their periods of labor, are accustomed to cover the 
parts they have painted with a preparation which preserves 
the freshness of the colors, and which they can remove 
when they resume their work. This preparation is as 
follows : 

Take of very clear nut-oil, three ounces ; mastich in 
tears, pulverized, one-half ounce ; sal saturni, in powder 
(acetate of lead,) one-third ounce. Dissolve the mastich 
in oil over a gentle fire, and pour the mixture into a mar- 
ble mortar, over the pounded salt of 



42 THE PAINTER'S HAND-BOOK. 

wooden pestle, and add water in small quantities till the 
matter assume the appearance and consistence of cream, 
and refuse to admit more water. 

Prussian Blue Paint. — The ceruse is ground with oil, 
if for varnish, made with essence, or merely with essence, 
which is equally proper for oil painting; and a quantity of 
either of these blues sufficient to produce the required tone 
is added. 

For varnish, the ceruse is generally ground with oil of 
pinks added to a little essence, and is mixed up with cam- 
phorated mastich varnish, if the color is destined for deli- 
cate objects; or with gallipot varnish, if for wainscoting. 
This color, when ground and mixed up with drying oil, 
produces a line effect, if covered by a solid varnish made 
with alcohol or essence. 

If this oil color be destined for expensive articles, such 
as valuable furniture subject to friction, it may be glazed 
with the turpentine copal varnish. 

Red Distemper for Tiles. — Dip a brush in water 
from a common lye, or in soapy water, or in water charged 
with a twentieth part of the carbonate of potash (pearl- 
ash), and draw it over the tiles. This washing thoroughly 
cleanses them, and disposes all the parts of the pavement 
to receive the distemper. 

When dry, dissolve in eight pints of water one-half 
pound of Flanders glue ; and while the mixture is boil- 
ing, add two pounds of red ochre ; mix the whole with 
great care. Then apply a stratum of this mixture to the 
pavement, and when dry apply a second stratum with dry- 
ing linseed oil, and a third with the same red mixed up 
with size. When the whole is dry, rub it with wax. 

Sea-Green for Distemper. — Grind separately with 
water, mountain-green and ceruse; and mix up with 
parchment size and water, adding ceruse in sufficient 
quantity to produce the degree of intensity required in 
the color. Watin recommends the use of Dutch pink of 
Troyes and white oxide of lead, in proportions pointed 
out by experience ; because the color thence resulting is 
more durable. 

In the case of a triple composition, begin to make the 
green by mixing Dutch pink with blue verditer, and then 
lower the color to sea green, by the addition of ceruse 
ground with water. 



THE PAINTER'S HAND-BOOK. 4$ 

Sea-Green for Varnish and Oils. — Varnish re- 
quires that this color should possess more body than it 
has in distemper ; and this it acquires from the oil which 
is mixed with it. This addition gives it even more 
splendor. Besides, a green of a metallic nature is substi- 
tuted for the green of the Dutch pink, which is of a vege- 
table nature. 

A certain quantity of verdigris, pounded and sifted 
through a silk sieve, is ground separately with nut-oil, half 
drying and half fat ; and if the color is intended for me- 
tallic surfaces, it must be diluted with camphorated mas- 
tich, or gallipot varnish. 

On the other hand, the ceruse is ground with essence, or 
with oils to which one half of essence has been added, and the 
two colors are mixed in proportions relative to the degree 
of intensity intended to be given to the mixture. It may 
readily be conceived that the principal part of this compo- 
sition consists of ceruse. 

If this color be destined for articles of a certain value T 
crystallized verdigris, dried and pulverized, ought to be 
substituted for common verdigris, and the painting must 
be covered with a stratum of the transparent or turpen- 
tine copal varnish. 

The sea-greens, which admit into their composition 
metallic coloring parts, are durable and do not change. 

The last compositions may be employed for sea-green in 
oil painting ; but it will be proper to brighten the tone a 
little more than when varnish is used, because this color be- 
comes darker by the addition of yellow, which the oil de- 
velops in the course of time. 

Siccitive Oil. — Boil together for two hours on a slow 
and equal fire, half ounce of litharge, as much calcined 
ceruse, and the same of terre d'ombre and talc, with' one 
pound of linseed oil, carefully stirring the whole time. 
It must be carefully skinned and clarified. The older it 
grows the better it is. A quarter of a pint of this dryer 
is required to every pound of color. 

Solvent for Old Paint or Putty. — Caustic soda ? 
applied with a broom or brush made of vegetable matter. 
It is sold in the shops as concentrated lye. 

Ultramarine. — A vitreous matter colored by oxide of 
cobalt, gives a tone of color different from that of the 
prussiate of iron and indigo. It is employed for sky-blues* 



4A THE PAINTER'S HAND-BOOK. 

The case is the same with blue verditer, a preparation 
made from oxide of copper and lime. Both these blues 
stand well in distemper, in varnish, and in oil. 

Saxon blue requires to be ground with drying oil, and 
to be mixed with gallipot varnish. If intended for oil 
painting, it is to be mixed up with resinous drying oil, 
which gives body to this vitreous matter. 

Yiolet-Color. — Violet is made indifferently with red 
and black, or red and blue; and to render it more splen- 
did, with red, white, and blue. To compose violet, there- 
fore, applicable to varnish, take minium, or what is still 
better, vermilion, and grind it with the camphorated mas- 
tich varnish to which a fourth part of boiled oil and a little 
ceruse have been added ; then add a little Prussian blue 
ground in oil. The proportions requisite for the degree of 
intensity to be given to the color will soon be found by 
experience. The white brightens the tint. The vermilion 
and Prussian blue, separated or mixed, give hard tones, 
which must be softened by an intermediate substance 
that modifies, to their advantage, the reflections of the 
light. 

Walnut-wood Color— A given quantity of ceruse, 
half that quantity of ochre de rue, a little umber earth, 
red ochre, and yellow ochre de Berri, compose this color 
proper for distemper, varnish, and oil. 

For varnish, grind with a little drying nut-oil, and mix 
up with the gallipot varnish. 

For oil painting, grind with fat oil of pinks added to 
drjMng oil or essence, and mix up with plain diwing oil, or 
with resinous drying oil. 

White Distemper, to Paint in. — Grind fine in water 
Bougival white, a kind of marl or chalky clay, and mix it 
with size. It may be brightened by a small quantity of 
indigo, or charcoal-black. 

White Paint. — The white destined for varnish or oil 
requires a metallic oxide ? which gives more body to the 
color. Take ceruse, reduced to powder, and grind it with 
oil of pinks, and one-fourth ounce of sulphate of zinc for 
each pound of oil. Apply the second coating without the 
sulphate of zinc, and suffer it to dry. Cover the whole 
with a stratum of sandarach varnish. This color is dura- 
ble, brilliant, and agreeable to the eye. 

Boiled linseed oil might be employed instead of oil of 



THE PAINTER'S HAND-BOOK. 45 

pinks, but the color of it would in some degree injure the 
purity of the white. 

Another. — White is prepared also with pure white oxide 
of lead, ground with a little essence, added to oil of pinks 
and mixed with gallipot varnish. The color may be mixed 
also with essence diluted with oil, and without varnish, 
which is reserved for the two last coatings. If for a lively 
white, the color is heightened with a little Prussian blue 
or indigo, or with a little prepared black. The latter gives 
it a gray cast. But pure white lead, the price of which is 
much higher than ceruse, is reserved for valuable articles. 
In this particular case, if a very line, durable white be re- 
quired, grind it with a little essence, and mix it with san- 
darach or varnish. 

6.— MISCELLANEOUS. 

To Make a Composition for rendering Canvas, Linen ? 
and Cloth Durable, Pliable, and Waterproof. 

To Make it Black. — First, the canvas, linen, or cloth. 
is to be washed with hot or cold water, the former prefer- 
able, so as to discharge the stiffening which all new can- 
vas, linen, or cloth contains ; when the stiffening is per- 
fectly discharged, hang the canvas, linen, or cloth up to 
dry ; when perfectly so, it must be constantly rubbed by 
the hand until it becomes supple; it must then be 
stretched in a hollow frame very tight, and the following 
ingredients are to be laid on with a brush for the first 
coat, viz., eight quarts of boiled linseed oil, half an ounce 
of burnt umber, one quarter ounce of sugar of lead, one 
quarter ounce of white vitriol, one quarter ounce of white 
lead. 

The above ingredients, except the white lead, must be 
ground line with a small quantity of the above-mentioned 
oil, on a stone and muller ; then mix all the ingredients 
up with the oil, and acid three ounces of lampblack, which 
must be put over a slow fire in an iron broad vessel, and 
kept stirred until the grease disappears. In consequence 
of the canvas being washed and then rubbed, it will ap- 
pear rough and nappy; the following method must be 
taken with the second coat, viz., the same ingredients as 
before, except the white lead ; this coat will set in a few 



46 THE PAINTER'S HAND-BOOK. 

hours, according to the weather ; when set take a dry 
paint-brush and work it very hard with the grain of the 
canvas ; this will cause the nap to lie smooth. 

The third and last coat makes a complete jet-black, 
which continues its color : Take three gallons of boiled 
linseed oil, an ounce of burnt umber, half an ounce of 
sugar of lead, one quarter ounce of white vitriol, half an 
ounce of Prussian blue, and one quarter ounce of verdigris ; 
this must be all ground very fine in a small quantity of 
the above oil, then add four ounces of lampblack, put 
through the same process of fire as the first coat. The 
above are to be laid on arid used at discretion, in a similar 
way to paint. To make lead color, the same ingredients 
as before in making the black, with the addition of white 
lead in proportion to the color you wish to have, light or 
dark. 

To make it Green. — Yellow ochre, four ounces ; Prus- 
sian blue, three quarters of an ounce ; white lead, three 
ounces ; white vitriol, half an ounce ; sugar of lead, one 
quarter ounce ; good boiled linseed oil sufficient to make 
it of a thin quality, so as to go through the canvas. 

To make it Yellow. — Yellow ochre, four ounces, 
burnt umber, one quarter ounce ; white lead, six or seven 
ounces ; white vitriol, one quarter ounce ; sugar of lead, 
one quarter ounce ; boiled linseed oil, as in green. 

To make it Red. — Red lead, four ounces; vermilion, two 
ounces ; white vitriol, one quarter ounce ; sugar of lead, 
one quarter ounce ; boiled linseed oil as before. 

To make it Gray. — Take white lead, a little Prussian 
blue, according to the quality you want, which will turn 
it to a gray color ; a proportion of sugar of lead and white 
vitriol, as mentioned in the other colors, boiled linseed oil 
sufficient to make it of a thin quality. 

To make it White. — White lead, four pounds ; spirits 
of turpentine, one quarter pint ; white vitriol, half an 
ounce ; sugar of lead, half an ounce ; boiled oil sufficient 
to make it of a thin quality. 

The above ingredients, of different colors, are calculated 
as near as possible ; but, as one article may be stronger 
than another, which will soon be discovered in usiDg, in 
that case the person working the color may add a little, or 
diminish, as he may find necessary. 

The same preparation for wood or iron, only reducing 



THE PAINTER'S HAND-BOOK. 47 

the oil about three quarts out of eight, and to be applied 
in the same manner as paint or varnish, with a brush. 

Brilliant Whitewash, closely resembling Paint. 
— Many have heard of the brilliant stucco whitewash on 
the east end of the President's house at Washington. The 
following is a receipt for it : 

Take one-half bushel nice unslaked lime, slake it with 
boiling water, cover it during the process to keep in the 
steam. Strain the liquid through a fine sieve or strainer, 
and add to it a peck of salt, previously well dissolved in 
warm water, three pounds ground rice, boiled to a thin 
paste, and stirred in boiling hot, one-half pound powdered 
Spanish whiting, and one pound of clean glue, which has 
been previously dissolved by soaking it Well, and then hang 
it over a slow fire, in a small kettle within a large one 
filled with water. Add five gallons of hot water to the 
mixture, stir it well, and let it stand a few days, covered 
from the dirt. It should be put on quite hot ; for this 
purpose, it can be kept in a kettle on a portable furnace. 
It is said that about a pint of this mixture will cover a 
square yard upon the outside of a house, if properly ap- 
plied. Brushes more or less may be used, according to the 
neatness of the job required. It answers as well as oil- 
paint for wood, brick, or stone, and is cheaper. It retains 
its brilliancy for many years. There is nothing of the 
kind that will compare with it, either for inside or outside 
walls. Coloring-matter may be put in, and made of any 
shade you like. Spanish brown stirred in will make red 
pink, more or less deep, according to the quantity. A del- 
icate tinge of this is very pretty for inside walls. Finely 
pulverized common clay, well mixed with Spanish brown, 
makes a reddish stone color. Yellow ochre stirred in 
makes yellow-wash ; but chrome goes further, and makes 
a color generally esteemed prettier. In all these cases the 
darkness of the shades, of course, is determined by the 
quantity of coloring used. It is difficult to make rules, 
because tastes are different ; it would be best to try ex- 
periments on a shingle, and let it dry. Green must not 
be mixed with lime ; it destroys the color, and the color 
has an effect on the whitewash which makes it crack and 
peel. When walls have been badly smoked, and you wish 
to have them a clean white, it is well to squeeze indigo 
plentifully through a bag into the water you use, before it 



43 THE PAINTER'S HAND-BOOK. 

is stirred in the whole mixture, or add a little blue stone. 
If a larger quantity than five gallons be wanted, the same 
proportion should be observed. 

To Paint in 'Fresco. — It is performed with water-col- 
ors on fresh plaster, or a wall laid with mortar not dry. 
This sort of painting has a great advantage by its incorpo- 
rating with the mortar, and drying along with it becomes 
very durable. 

The ancients painted on stucco, and we may remark in 
Vitruvius what infinite care they took in making the plas- 
tering of their buildings to render them beautiful and 
lasting, though the modern painters find a plaster of lime 
and sand preferable to it. 

Painter's Colic — Symptoms. — Pain and weight in the 
belly ; belching ; constant desire to go to stool, which is 
ineffectual ; quick, contracted pulse ; the belly becomes 
painful to the touch", and is drawn into knots ; constant 
colic pains ; the patient sits in a bent position ; after 
awhile palsy of part or of the whole body. 

Treatment. — This disease is too apt to end in palsy, leav- 
ing the hands and limbs contracted and useless. In every 
case of colic, whose symptoms resemble the above, if the 
person has been exposed to lead in any of its shapes, all 
doubt on the subject vanishes. 

Give laudanum in moderate doses, and rub the belly 
well with warm spirits, and place him in a bath as hot as 
he can bear. As soon as he is well dried, and has rested 
in bed a few minutes, take him up and dash a bucket of 
cold water over his belly and thighs, or mix an ounce of 
sulphate of magnesia in a pint of water, and give a wine- 
glassful every half hour until ease is obtained. If this, 
with castor oil by the mouth and in clysters, will not pro- 
duce a stool, apply a large blister to the belly. As soon 
as the symptoms are somewhat abated, castor oil or laxa- 
tive clysters may be resorted to for the purpose of keep- 
ing the bowels open; and to guard against a return, small 
doses of opium should be taken from time to time. Bit- 
ters, the different preparations of iron, bark, etc., aire 
necessary to restore the strength of the system. 



THE PAINTEK'S HAND-BOOK. 49 

CAUTIONS TO PAINTERS, GLAZIERS, AND 
PLUMBERS. 

The following medical cautions were recommended by 
the physicians and surgeons of the Bath Hospital, to those 
who have received benefit by the use of the Bath waters, 
in cases where the poison of lead is concerned, as plumb- 
ers, glaziers, painters, and other artificers, who work in 
trades which expose them to similar hazards from the 
same cause ; to be observed by them at their return to the 
exercise of their former occupation : 

1. To maintain the strictest temperance, particularly 
respecting distilled spirits, which had better be altogether 
forborne. 

2. To pay the strictest attention to cleanliness ; and 
never suffer paint to remain upon their hands ; and partic- 
ularly never to eat their meals, or go to rest, without 
washing their hands and face with soap, perfectly clean. 

3. Not to eat or drink in the room or place wherein 
they work ; and much less to suffer any food or drink to 
remain unused, even for the shortest space of time, in any 
part of a room while painting, or where color stands ; and 
not to work on an empty stomach. 

4. As the clothes of persons in this line (painters par- 
ticularly) are generally much soiled with color, it is recom- 
mended for them to perform their work in frocks of tick- 
ing, which may be frequently washed, and conveniently 
laid aside when the workmen go to their meals, and again 
put on when they resume their work. 

5. Every business which can, in these branches, should 
be performed with gloves on their hands. Painters, in 
performing clean, light work, would find gloves an incon- 
venience ; but to avoid the evil here mentioned, the han- 
dle of the brush should be often scraped. Woolen or 
worsted gloves are recommended, as they may and should 
be often washed, after being soiled with the paint, or even 
with much rubbing against the metal. 

6. Caution is necessary, in mixing, or even in unpack- 
ing the dry colors, that the fine powder does not get into 
their mouths, or be drawn in bj^ the breath. A crape 
covering over the face might be of service ; but care should 
be taken to turn always the same side of the crape to- 
wards the face, and to clean or wash it frequently. 



60 THE PAINTER'S HAND-BOOK. 

7. All artificers should avoid touching lead when hot ; 
and this caution is especially necessary for printers or 
compositors, who have often lost the use of their limbs by 
handling the types when drying by the fire, after being 
washed. 

8. Glaziers' putty should never be made or moulded by 
the hand. An iron pestle and mortar would work the in- 
gredients together, at least equally as well, and without 
hazard. It is necessary in working putty to handle it, 
nor is it usually pernicious. Cleanliness is therefore the 
best recommendation. 

9. If any persons, in any of the above employments, 
should feel pain in the bowels, with costiveness, they 
should immediately take twenty drops of laudanum, and 
when the pain is abated, two tablespoonsful of castor oil, 
or one-half ounce of Epsom salts, dissolved in warm cham- 
omile tea. If this does not succeed, a pint or two pints of 
warm soapsuds should be thrown up as a clyster. 

10. As a preventive, ten or fifteen drops of aromatic 
sulphuric acid (elixir of vitriol), is likely to be of service, 
if taken daily. 



INDEX. 



PAGE 

Accidental Color 27 

Badigeon, To Distemper in 38 

Bastard Flat 18 

Black ,., 6 

" Color, Fine 33 

■" Ivory 6, 34 

" Lamp 6, 34 

" Paint 34 

" "Walnut, To Imitate 22 

" from Peach Stones 35 

" from Vine Twigs 35 

" from "Wine-Lees 34 

Blue 8 

" Colors 33 

" Distemper 33 

" Paint, Prussian '. -42 

" Prussian 8 

" Saxon 44 

" Sky 10 

" Verditer 9,33 

Boiled Oil 13 

Boneblack 39 

Brazil "Wood 8 

Bright Red 33 

Brilliant Whitewash 47 

Brown, Spanish 8 

Brunswick Green 9 

Brushes, Veining 21 

Buff Color 10, 35 

Burnt Umber 8 

Carmine 7 

Cautions to Painters, Glaziers, 

and Plumbers 49 

Cement, Parker's 8 

Chamois Color 35 

Cheap Outside Paint 35 

Chestnut Color 35 

Choice and Distribution of Col- 
ors 27 

Chrome Yellow 6, 19 

Cinnabar 7 

Clouding 26 

Coal Tar 14 

Cobalt 9 

Cochineal 7 

" Lake 7 

Cold Tone 28 



PAGE 

Colic, Painter's 31 

" 48 



Co: 



27 



10 



10 



or, Accidental. 

Blue 33 

Buff 10, 35 

Chamois 35 

Chestnut 35 

Complementary 27 

Contrasting , 

r Cream 

; Crimson 

Drab 

Fine Black 33 

Flaxen Gray 37 

Flesh 10 

Gold 10 

Gray 10 

Green 11, 37 

1 Harmonizing 28 

Lead 11 

Oak-YN 7 ood 41 

Olive 11 

" for Distemper 41 

" for Oil 41 

" i or Yarnish 41 

Orange 10 

Peach 10 

Pearl 10 

Principal 28 

Bose 36 

Stone : 10 

Violet 11, 44 

Walnut-"Wood 44 

Golden Yellow 38 

Colors, Choice & Distribution of 27 

Mixing and Laying on of 15 

Recipes for 33 

Coloring Substances 5 

Common Tar 14 

Complementary Color 27 

Composition, Waterproof. 45 

Contrasting Color 28 

Coral Wood, To Lnitate 22 

Cream Color 10 

" Painter's 41 

Crimson Color 36 

Dead Flatting 13 



52 



INDEX. 



PAGE 

Distemper 4, 14 

Blue 33 

" Olive, Color for 41 

Red, for Tiles 42 

" Sea-Green, for 42 

" in Badigeon, To 36 

" Painting in 25 

" To Paintin 40 

" To Paint in White 44 

Drab Color 10 

Dryer, for Painting, a 36 

Dryers 14 

Dust, Road 11 

Fawn Tint 10 

Fine Black Color 33 

" Places, To Paint 41 

Fitches 17 

Flat, Bastard 18 

Flatting 18 

Flaxen Gray 10, 37 

Flesh Color 10 

Flexible Paint 38 

French Polishing 25 

Fresco, To Paint in 48 

Glaziers, Cautions to 49 

Gold Color 11 

" Size, Japan 24 

Golden Yellow Color 38 

Graining 19 

Crib 20 

Gray Color 10 

" Flaxen 10, 37 

" Silver 10 

Green 9 

" Brunswick 9 

" Color 11, 37 

" Italian 9 

" Saxon 9 

" Scheele's 9 

" Sea 43 

" Verditer 9 

Grindstone 15 

Harmonizing Color 28 

Hearths, To Paint 41 

Honduras Mahogany, To Imi- 
tate 22 

Dnitation of Coral Wood 22 

Black Walnut 22 

" Honduras Mahog- 
any 22 

Dnitation of Mahogany 21 

" Marbles 22 

Oak 20 

" . Rosewood 21 

«« Satin Wood 21 

" Spanish Mahogany 22 

" Zebra Wood 22 

Indian Red 8 

Indigo. 8 



PAGE 

Indigofera 8 

Italian Green 9 

Ivory 39 

" Black 6, 34 

Japan Gold Size 24 

Jonquil 39 

King's Yellow 7 

Knotting 17 

Lapis Lazulia 9 

Lake 7 

" Cochineal 7 

" Madder 7 

Lamp-black 6, 34 

" Superior 40 

" Paints from 39 

Lavender, Oil of. 13 

Lead Color 11 

" Oxide of Vi 

" Red 8 

" White 10 

Lemon Color 10 

Light Gray, To Paint in 40 

Linseed Oil 12 

Litharge 13 

Liquids with which Colors are 

mixed 12 

Madder Lake 7 

Mahogany, To Imitate 21 

Maple, To Imitate 21 

Marbling 19 

Marbles, To Imitate 22 

Massicot 7 

Megilp 20 

Mental Tone 29 

Mixing and Laying-on of Colors 15 

Montpellier Yellow 40 

Muller 15 

Naples Yellow 7, 10, 40 

Nut Oil 12 

Oak, To Lnitate 20 

" Wood Color 41 

Ochres 8 

Ochre, "Xellow 7, 10 

Olive Color 11 

' ' Color for Distemper 41 

" Color for Oil 41 

" Color for Varnish 41 

Oil of Lavender 11 

" Poppies 13 

" Spike 13 

" Tar 14 

" Turpentine 13 

" Boiled 13 

" Linseed 12 

" Nut 12 

" Olive, Color for 41 

" Pilchard 13 

" Siccitive 43 

Oils Sea-greens from 43 



INDEX. 



PAGE 
.. 10 



Orange Color 

Ornamental Painting 26 

Orpirnent 7, 13 

Outside Paint, Cheap 35 

Oxide of Lead 13 

Paint, Black 34 

" Cheap Outside 35 

" Fire-places, To 41 

" Flexible 38 

" Hearths, To 41 

" Prussian Blue 42 

Solvent for Old 43 

< £ White 44, 45 

" in Distemper, To 43 

" in Fresco, To 48 

" in Light Gray, To 40 

" in White Distemper, To 44 

Painting 3 

" A Dryer for 36 

" in Distemper 20 

Painters, Cautions to 49 

Colic 81, 48 

" Cream 41 

Paints from Lamp-black 39 

Parker's Cement 8 

Patent Yellow 7 

Peach Color 10 

Pearl Color , 10 

Pilchard Oil 13 

Plaster of Paris 6 

Plumbers, Cautions to 49 

Polishing, French 25 

Poppies, Oil of 13 

Powder, Putty 25 

Tripoli. 25 

Priming 17 

Principal Color 28 

Prussian Blue 8, 42 

Putty... 6 

" Powder 25 

" Solvent for Old 43 

Bed 7 

" Bright 33 

" Distemper for Tiles 42 

" Indian 8 

« Lead 8 

" Venetian _, 8 

Receipts for Colors 33 

Road Dust 11 

Rose Color 36 

Rosewood, To Imitate 21 

Sash Tools 17 

Satin White 31 

Satin Wood, To Imitate 21 

Saxon Blue 44 

'■ Green 9 

Scheele's Green , 9 

Sea Green for Distemper 42 

" Oils 43 



PAGE 

Sea Green for Varnish. 43 

Siccitive Oil. 43 

Sign Painting 23 

Silver Gray 10 

Sky Blue 10 

Solvent for Old Paint 43 

Putty 43 

Spanish Brown 8 

Spanish Mahogany, To Imitate 22 

Spike, Oil of 13 

Stove Color 10 

Straw Color 10 

Superior Lamp-black 40 

Tar, Coal 14 

" Common 14 

" Oil of... 14 

Tiles, Red Distemper for 42 

Tone, Cold 28 

" Mental 29 

" Warm 28 

Tripoli Powder 25 

Turner's Yellow 7 

Turpentine, Oil of 13 

Ultramarine. 9, 43 

Umber, Burnt 8 

Varnish, Olive Color, for 41 

" Sea Green for 43 

Varnishing 24 

Veining Brushes 21 

Vermilion 7, 10 

Venetian Red 8 

Verdigris 9 

Verditer, Blue 9, 33 

" Green 9 

Violet Color 11, 44 

Voider 16 

Walnut Wood Color 44 

Warm Tone , . . 28 

Waterproof Composition 45 

White 5 

" Bougival , 6 

" Distemper, To Paint in. . . 44 

" Lead. 10 

" Paint 44, 45 

" Satin 31 

" Spanish 6 

Whiting 6 

Whitewash, Brilliant 47 

Wine-Lees, Black from 34 

Yellow 6 

Chrome 6, 10 

Color, Golden 38 

" King's 7 

" Montpellier 40 

" Naples 7, 10, 40 

" Ochre 7, 10 

" Patent 7 

" Turner's ' 7 

Zebra Wood, To Imitate 22 



THE CONFECTIONER'S HAND-BOOK. 

Containing full and explicit directions for making Candies, 
Bon-bons, Caraways, Chocolate, Comfits, Caramels, Jellies, 
Essences, Fruit Pastes, Ice Creams, Jams, Syrups, etc., etc. 
Price 25c. 



THE PAINTER'S HAND-BOOK. 

Contains full directions in everything relating to House and 
Ornamental Painting, Sign Painting, etc., etc. Price, 25c. 



THE ACTOR'S ART. 

Its Requisites, and how to obtain them; its Defects, and how 
to remove them. Price, 15c. 



THE ART OF PUBLIC SPEAKING. 

An Exposition of the Principles of Oratory. By Samuel 
Neil. Price, 25c. 



- THE ROYAL, CHART. 

A system of Cutting Ladies' and Children's Dresses, by meas- 
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and perfect adaptation of the Royal Chart to fit anv I 
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The Perfect Gentleman. A book of Etiquette and Elo- 
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become brilliant or conspicuous in General Society, or at Parties, Dinners, 
or Popular Gatherings, &c. It gives directions how to use wine at table, 
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Sentiments, Wit and Conversation at Table, &c. It has also an American 
Code of Etiquette and Politeness for all occasions. Model Speeches, with 
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and gilt volume of 335 pages. Price ...... ...$1 50 

Leaves from the Note-Book of a New York 

DETECTIVE . - -This is a collection of very startling stories, showing how a 
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The Secret Out ; or, One Thousand Tricks wiih Cards, and 
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best Tricks in Legerdemain, in addition to the card tricks. 12mo., 400 
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The Illustrated Hand-BooK of Billiards. By 

Michael Phelan and Claudius Berger. Containing a complete treatise 
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The American Home Cook Book. Containing seve- 
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There are no copyings from theoretical cooking recipes. 

Bound in boards, cloth back. Price 50 cts. 

Bound in paper cover. Price 30 cts. 

The Game of Draughts or Checkers Simplified 

AND EXPLAINED. With Practical Diagrams and Illustrations, together 
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Eighteen Standard Games, with over 200 of the best variations, selected 
from the various authors, together with many criminal ones never before 
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Courtship Made Easy; or, The Art of Making Love fully 
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Wright's Book of 3,000 American Receipts : or, 

Light House of Valuable Information. Containing over 3,000 Receipts in 
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merous languages besides the English. This i3 by far the most valuable 
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41 Triimp's" American Hoyle; or, Gentleman's Handbook 

of Games. Containing clear and complete descriptions of all the games 
played in the United States, with the American Rules for playing them, 
including Whist, Euchre, Besique, Cribbage, All-Pours, Loo, Poker, Brag, 
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Billiards, and a hundred other games. This work is designed to be an 
American authority for all tho various games of skill and chance. It has 
been prepared with great care by the editor, with the assistance of a num- 
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games, but a live American book, expressly prepared for American read- 
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Frank Converse's Complete Banjo Instructor, 

Without a Master. Containing a choice collection of Banjo Solos, Horn- 
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arranged and plainly explained, enabling the learner to become a proficient 
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to learn, that it may be readily comprehended at a glance by any person, 
even of very limited understanding. By this simple method a person may 
master a tune in an hour or so. Mr. Converse is an eminent professor of 
the Banjo and a thorough musician, and his plan of instruction is entirely 
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we say it is. The Instructor is illustrated with diagrams and explanatory 
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The Finger-Post to Public Business. Containing 

the mode ofiorming and conducting Societies, Clubs, and other organized 
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business ; complete directions how to compose resolutions, reports and pe- 
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and the composition and delivery of Public Addresses, with examples of fig- 
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eration of the United States, the Constitution, the celebrated Virginia and 
Kentucky Resolutions, and other documents of reference. By an Ex-Mem- 
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Chesterfield's Art of Letter-Writing Simplified. 

A Guide to Friendly, Affectionate, Polite, and Business Correspondence. 
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Knowlson's Farrier, and Complete Horse Doctor. We have 
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it because it gives them plain, common-sense directions how to manage 
their horses. ¥e sell our new edition (64 pages, 18mo) cheap. Price. ..15 cts. 

The Art OI Conversation. With Bemarks on Fashion 
and Address. By Mrs. Maberly. This is the best book on the subject ever 
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but all the instructions and rules for conversation are given in a plain and 
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Horse-Taming by a New Method, as Practiced by 

J. S. Barey. A New and Improved Edition, containing Mr. Barey's whole 
Secret of Subduing and Breaking Vicious Horses, together with his improved 
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The Game of Whist. Bules, Directions and Maxims to 
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Explanations and Directions for Old Players, and the Laws of the Game. 
Compiled from Hoyle and Matthews. Also, Loo, Euchre, and Poker, 
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&c. Price.— 15 cts. 

The Ladies' Love Oracle ; or, Counselor to the Fair Sex. 

Being a Complete Fortune Teller and Interpreter to all questions upon the 
different events and situations of life, but more especially relating to ail 
circumstances connected with Love, Courtship and Marriage. By Madame 
Le Marchand. Beautifully illustrated cover, printed in colors. 
Price.... - „„ 30 cts. 

Tlie Laws Of Love. A Complete Code of Gallantry. 
Containing concise rules for the conduct of Couri ship through its entire 
progress, aphorisms of love, rules for telling the characters and dispositions 
of women, remedies for love, and an Epistolary Code. 12mo, paper. 
Price SO cts. 

The Great Wizard of the North's Hand-Book of 

Natural Magic. Being a series of the Newest Tricks of Deception, ar- 
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the great "Wizard of the North. Price 25 cts- 



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Mrs. Crowen's American Ladies' Cookery Book. 

Comprising every variety of information for ordinary and holiday occasions* 
and containing ever 1200 original Receipts for preparing and cooking Soups 
and Brothd, Fish, and Oysters, Clams, Muscles and Scollops, Lobsters, 
Crabs and Terrapins, Meats of all kindj, Poultry and Game, Eggs and 
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Preserves and Jellies, Pickles and Catsups, Potted Meats, etc., etc. Toge- 
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kinds of Provisions, and preparing Pipe Fruits for Table, Bills of Fare for 
the relief of young housekeepers, Arrangement of the Table for every varie- 
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Carving Made Easy, Etc. The whole being a complete system of American 
Cookery. By Mrs. T. J. Crowen. Illustrated with several diagrams . This 
genuine and really practical American Cook Book is worth a thousand of 
the foreign republications which are issued from the press in this country. 
Mrs. Crowen gives directions for making all sorts of economical dishes, 
baking all kinds of cakes and pies, manufacturing every variety of confec- 
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"week's standing can easily act upon her directions, and yet she has taken so 
comprehensive a scope that the very best and most skillful will find some- 
thing new. All the Receipts in this work have been carefully tried, and 
may be relied upon as the result of actual experience. 12mo, cloth bind- 
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Martine's Sensible Letter Writer; Being a comprehen- 
sive and complete Guide and Assistant for those who desire to carry on 
Epistolary Correspondence ; Containing a large collection of model letters, 
on the simplest matters of life, adapted to all ages and conditions, 

EMBRACING, 

Business Letters ; I Letters of Courtesy, Friendship and 

Applications for Employment, with , Affection • 



Letters of Condolence and Sympathy ; 

A Choice Collection of Love Letters, for 
Every Situation in a Courtship ; 

Notes of Ceremony, Familiar Invita- 
tions, etc., together with Notes of Ac- 
ceptance and Regret. 



Letters of Recommendation, and 
Answers to Advertisements ; 

Letters between Parents and Children ; 

Letters of Friendly Counsel and Re- 
monstrance i 

Letters soliciting Advice, Assistance, 
and Friendly Favors ; 

The whole containing 300 Sensible Letters and Notes. This is an invalua- 
ble book for those persons who have not had sufficient practice to enable 
them to write letters without great effort. It contains such a variety of 
letters, that models may be found to suit every subject. Bound in boards, 

with illuminated cover and cloth back, 207 pages. Price. ._- 50 

Bound in cloth. ........... 75 

Duncan's Masonic Ritnaland Monitor, or Guide to 

the Three Symbolic Degrees of the Ancient York Bite. And to the 
Degrees of Mark Master, Past Master, Most Excellent Master, and the Royal 
Arch. By Malcolm C. Duncan. Explainedand interpreted by copious notes 
and numerous engravings. Although this work is a complete Ritual of the 
Symbolic and Chapter Degrees, and is also profusely illustrated with engra- 
vings of the Secret Signs and Grips, it is not so much the design of the au- 
thor to gratify the curiosity of the uninitiated, as to furnish a guide to the 
younger members of the order, by means of which their progress from 
grade to grade may be facilitated. The " work" laid down in this book dif- 
fers from anything heretofore published. No Mason should be without it. 

Bound in Cloth. Price $2 50 

Leather tucks [Pocket Book Style] with col. edges $3 00 

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jbuncan's Masonic Ritual and Monitor ; or, Guide 

J to the Three Symbolic Degrees of the Ancient York Bite, Entered Apprentice, 

I Fellow Craft, and Master Mason. And to the Degrees of Mark Master, 
1 1! Past Master, Most Excellent Master, and the Royal Arch. By Malcolm 
; , C. Duncan. Explained and Interpreted by copious Notes and numerous 
' I Engravings. Although this work is a complete Ritual of the Symbolic and 
| j Chapter Degrees, and is also profusely illustrated with engravings of the 
I 'i Secret Signs and Grips, it is not so much the design of the author to gratify 
| ; 'the curiosity of the uninitiated, as to furnish a Guide to the Younger 
I ! Members of the Order, by means of ■which their progress from grade to 

j grade may be facilitated. It is a well-known fact that comparatively few 

I I of the fraternity are "Bright Masons," but with the aid of this invaluable 
j j Masonic Companion any Mason can, in a short time, become qualified to 

j take the Chair as Master of a Lodge. Everything in this book is clear and 
I Correct, and it gives in the plainest possible language an understandable 
i 1 description of all the Bites and Ceremonies practiced in the above-named 
i ij Degrees. Nothing is omitted in it that may tend to impart a full under- 

! standing of the principles of Masonry. The Ceremonies as they are (or 
| i should be) performed, the Pass-Words, Grips, Signs, Tokens, Jewels, 

I Emblems, Lectures, and Plans of the Interior of Lodges, are all explained, 

I with numerous Notes and Engravings, (all new.) This is a valuable book 
llj for the Eraternity, containing, as it does, the Modern "Work" of the 

-order. No Mason should be without it. It is entirely different from any 
' | other Masonic book heretofore published. Bound in cloth. Price— $2 50 
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Ivery "Woman Her Own Lawyer. A Private Guide 

'; in all*matters of Law, of essential interest to "Women, and by the aid of 
|j which every Female may, in whatever situation, understand her legal course 
j and redress, and be her own Legal Adviser. By Georgb Bishop. Large 
'I 12mo, nearly 400 pages, bound in half leather. This book should be in the 
|i hands of every woman, young or old, married or single, in the United 
1 States. Price - $1 60 

feorgan's Freemasonry Exposed and Explained. 

|j Showing the Origin, History and Nature of Masonry ; its effect on the Gov- 

|' ernment and the Christian Religion ; and containing a Key to all the De- 

; grees of Freemasonry. Giving a clear and correct view of the Manner of 

conferring the different Degrees, as practiced in all Lodges throughout the 

Globe. Price 25 cts. 

irtS Of Beauty ; or, Secrets of a Lady's Toilet With Hints 
to Gentlemen on the Art of Fascinating. By Madame Lola Montez, Coun- 
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Europe, for the purpose of developing and preserving their charms. 
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die Dictionary Of Love. Containing a Definition of all 
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together with specimens of curious Model Love Letters, and many other in- 
teresting matters appertaining to Love, never before published. 12mo, 
cloth, gilt side and back. Price $1 50 

|Che Manufacture of Liquors, Wines and Cordials. 

j Without the Aid of Distillation; also, the Manufacture of Effervescing 
I Beverages and Syrups, Vinegar and Bitters. Prepared and arranged ex- 
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Book of 1,000 Tales and Amusing Adventures. 

Containing over 300 Engravings, and 450 pages. This is a magnificent book, 
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Day's American Ready-Reckoner, containing Tabid 

for rapid calculations of Aggregate Values, Wages, Salaries, Board, Inte 
est Money, &c, &c. Also. Tables of Timber, Plank, Board and Log Mej,, 
surements, with, full explanations how to measure them, either by tl] 
6quare foot (board measure), or cubic foot (timber measure). Als 
how to Measure Wood by the Cord, with Tables applicable to Pili" 
of Wood of any shape, and showing in a simple manner how to asce- 
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Also, telling how to describe a piece of land in deeding it. Also, giving ijj 
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United States. By B. II. Day, Tais Ready- Reckoner is composed { 
Original Tables which are positively correct, 'having been revised in ti 
most careful manner. The Table of Aggregate Values of MerchandT 
or Produce by the Piece, Pound, Yard, Foot, Inch, Gallon, Quar 
Pint, Peck, or Bushel, from an eighth up to 100 cents, bringing in n 
necessary fractions. This set of Tables is very complete for reckonh- 
the aggregate values of articles priced at almost any fractional part of 
dollar, and is of course applicable to articles of any price whatever, over^ 
dollar. It is perfect in this respect. The 6ccond set of Tables give t- 
value by the ounce of articles 6old by the pound from two cents per poun- 
cent by cent up to one dollar per pound. The Table of Wa°:es by t he Wee* 
showing the Wages from a fourth of a day un to four weeks. The rates I 
wages begin at twenty-five cents and gradually rise up to twenty dollS; 
per week. Tables of Wages by the Month, show the Wages per day av 
for any number of day3 in the month from one dollar up to one liundrc 
dollars per month. Tables of Salaries by the Year, show the amount oft; 
Salary for one day, and for any number of days up to one month, begi. 
ning at twenty dollars, and rising gradually up to fifteen hundred dolla; 
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ing one day at a time up to four weeks, then the board for thirty days ai 
thirty-one days at rates from one dollar, increasing gradually up to fif 
dollai-s per week. The Interest Tablc3 show the rates at five, six, sev 
and eight per cent, on any amount, from one day up to one year. Th' 
come the Board, Plank and Timber Tables, showing the Contents 
Boards, Planks, Round Lo~s, and other Timber ; also, the Wood and La: 
Measurements. These Tables are all prefaced by explanations telling e 
actly how to make the measurements, and giving easily understood exai 
pies, so that any person can measure for himself if he don't want to it 
the tables, or d.strusts them. This is, indeed, the most simple and easi" 
understood Ready-Reckoner ever printed. Most books of this kind a 
hard to unde^and, and that is why we wanted to print one with explan 
tions how the reckoning should be done. We think purchasers of this bo 
will be satisfied that we have succeeded in making a Reckoner that anj 
body can comprehend. It is a book of 192 pages, and embraces more no? 
ter than 500 pages of any other Reckoner. Bound in boards, with clo 

back. Price _£ 

Bound in cloth, gilt back. Price 

Bound in leather tucks [Pocket Book Style.] Price $1 2r 

Miner's Domestic Poultry Book. A Treatise on t 

History, Breeding and General Management of Foreign and Domestic Fow 
ByT. B. Miner. Author of "American Bee- Keeper's Manual," embi 
cing all the late Importations of Fowls, and being descriptions by the br 
Fowl Fanciers in the United States, of all the most valuable breeds, vn k 
the author's extensive experience a3 a breeder, together with selected m? 
ter of interest, comprising, as it is believed, the most complete and authe 
tic work on the subject ever published. Illustrated with numerous P(;- 
traits from Life. Bound in cloth. Price _ $1 f. 



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Courteney's Dictionary of Abbreviations ; Literaiy, 

1 Scientific, Commercial, Ecclesiastical, Military, Naval, Legal and Medical. 
S A book of reference— 3,000 abbreviations— for the solution of all literary 
I mysteries. By Edward S. C. Courteney, Esq. This is a very useful book. 
1 Everybody should get a copy. Price 15 cts. 

Blunders in Behavior Corrected. A Concise Code of 

deportment for both sexes. Price - 15 cts. 

i "It will polish and refine either sex, and is Chesterfield superseded. ' '—Home 
pompanion. 

Five Hundred French Phrases. Adapted for those 

I who aspire to speak and write French correctly. Price «15 cts. 

kow to Detect Adulteration in Our Daily Food 

I and Drink. A complete analysis of the frauds and deceptions practiced 

I' upon articles of consumption, by storekeepers and manufacturers ; with full 

! Ktions to detect genuine from spurious, by simple and inexpensive 

! means. Price.. - - 1o cts - 

The Young Housekeeper's Book; or, How to Save 

a Good Living upon a Small Income. Price 15 cts. 

HOW to be Healthy ; Being a Complete Guide to Long 
Life. By a Retired Physician. Price 15 cts. 

How to Gut and Contrive Children's Clothes at 

aSmallOost. With numerous explanatory engravings. Price.--15 cts. 

HOW tO Talk and Debate ; or, Fluency of Speech Attained, 
withoutthe Sacrifice of Elegance and Sense. Price 15 cts. 

HOW tO DreSS With Taste. Containing Hints on the 
harmony of colors, the theory of contrast, the complexion, shape or bight. 
Price - - - 1£> ets * 

Mind Vour StOPS. Punctuation made plain, and Compo- 

sitfen simplified for Headers, Writers and Talkers. This little book is worth 
fen timSthe price asked for it, and will teach accurately meverytirmg, 
from the diction of a friendly letter to the composition of a, learned 
treatise. Price— — 1S> cts ' 

Hard "Words Made Easy. Bules for Pronunciation and 
Accent; with SSructions how to pronounce French, Italian , Geman, 
Russian, Danish, Dutch, Swedish, Norwegian, add other foreign nams A 
capital work. Price lo cls ' 

Bridal Etiquette. A Sensible Guide to the Etiquette and 
ObservLc^ of the Marriage Ceremonies; containing complete directions 
for Sal f eceptions andtSe necessary rules for bridesmaids, groomsmen, 
sending cards, &c, &c. Price—. ----- : A *> cts »- 

HOW tO Behave; of, The Spirit of Etiquette A Complete 
Quids to Polite Society for Ladies and Gentlemen ; containing rules for 
gS benavior at the Sinner table, in the parlor, and m the street ; with 
important hints on introduction, conversation, «kc. Pnce Id cts. 

The Chairman and Speakers Guide; or, R^M 

the Orderly Conduct of Public Meetings. Price— - -ID cw»- 



[?end orders to O. A. BOOBBACH, 102 Nassau Street, ST. •2'. 



Chesterfield's Letter "Writer and Complete Book 

OF ETIQUETTE ; or, Concise Systematic Directions for Arranging and 
Writing Letters. Also, Model Correspondence in Friendship and Business, 
and a great variety of Model Love Letters. If any lady or gentleman de- 
sires to know how to begin a Love Correspondence, this is just the book they: 
want. If they wish to speak their minds to a tardy, a bashful, or a careles9 
or indifferent lover, or sweetheart, this book tells exactly how it should be 
done. Thi3 work is also a Complete Book of Etiquette. You will find more, 
real information in this book, than in half a dogen volumes of the more ex- 
pensive ones. It is emphatically a book for the million, and one which 
every young person should have. As it contains Etiquette for Ladies, as 
-well as for Gentlemen — Etiquette of Courtship and Marriage — Etiquette for, 
writing Love Letters, and all that sort of thing, it i3 an appropriate book tO| 
present to a lady. This book contains 136 pages, and is bound in pasteboardl 
sides, with cloth back. Price 40 cts., 

Brisbane's G-olden Ready Reckoner. Calculated in 

Dollars and Cents, being a useful Assistant to Traders in buying and selling 
various sorts of commodities, either wholesale or retail, showing at once the 
amount or value of any number of articles, or quantity of goods, or any 
merchandise, either by the gallon, quart, pint, ounce, pound, quarter, hun- 
dred, yard, foot, inch, bushel, etc., in an easy and plain manner. To which 
are added Interest Tables, calculated in dollars and cents, for days and for 
months, at six per cent, and at seven per cent, per annum, alternately; and 
a great number of other Tables and Rules for calculation never before in 
print. Bound in boards, cloth back. By "William D. Brisbane, A. M., 
Accountant, Book-keeper, &c. Price-..- 35 cts. 

Richardson's Monitor of Free-Masonry. A Com^ 

plete Guide to the various Ceremonies and Routine in Free-Masons' Lodges, 
Chapters, Encampments, Hierarchies, &c, &c, in all the Degrees, whether 
Modern, Ancient, Ineffable, Philosophical, or Historical. Containing, also, 
ihe Signs, Tokens, Grips, Pass-words, Decorations, Drapery, Dress, Regalia 
and Jewels, in each Degree. Profusely illustrated with Explanatory En- 
gravings, Plans of the Interior of Lodges, &c. By Jabez Richardson, 
A.M. A book of 135 pages. 

IBound in paper covers. - Price 50 cts. 

Dound and gilt. Price _ @1 00 

This is the only book ever written which gives a detailed description of 
the doings inside" a Masonic meeting. 

100 Tricks "With Cards. J- H. Geeen, the Reformed 

Gambler, has just authorized the publication of a new edition of his bool* 
entitled, " Gamblers' Tricks with Cards Exposed and Explained." This is 
a book of 96 pages, and it exposes and explains all the Mysteries of tbr, 
Gambling Tables. It is interesting, not only to those who play, but to thos$ 
"who do not. Old Players will get some new ideas from this curious book. I 

Paper covers. Price 30 ctsJ 

ZEcund in boards with cloth back. Price 50 cts' 

Boxing Made Easy; or, The Complete Manual of Self 

Defense. Clearly Explained and Illustrated in a Series of Easy Lessons 
■with some Important Hinta to "Wrestlers. Price - 15 cts 

HOW to "Win and HOW to "WOO. Containing Rules fo; 
the Etiquette of Courtship, with directions showing how to win the favor o 
the Ladies, how to begin and end a Courtship, and how Love Letters shouh 
be written. Price -15 cts 



Copies of the above books sent free of postage on receipt of prtQ'i, 

Send orders to O. A. ROORBACH, 102 Nassau Street, N. 



Oliver Twist. — A ^ ew an cl Elegant Parlor Game, for any 
number of Players, based on the Celebrated Story of the 
same name by Chables Dickens. Price 60c. 

This new and superb parlor game differs from any hitherto 
published, and is extremely fascinating and interesting in its 
method of playing. It can be engaged in by any number of 
persons, and affords an exhaustless fund of entertainment for 
the Home Circle and the Social Party. It consists of sixty 
cards, twenty-six of them being illustrated with engravings 
of the leading characters, the whole enclosed, with full direc- 
tions, in a handsome Box, richly embossed in Blue and Gold, 
and printed in Carmine. 

The Shakesperiail Oracle.— A New Game of Fortune. 

Price 50 cents. 

" I am Sir Oracle, 
And when I ope my mouth let no dog bark. " 

Merchant of Venice, Act.l, Sc. 1. 

The character of this Game is sufficiently indicated by its 
title. It forms a unique and charming recreation, and is at 
times wonderful in its revelations. To persons of fine taste 
its style and matter cannot fail to be highly pleasing and 
satisfactory. 

Mixed Pickles. — A Very Merry Game, for One Person or 
Three. Price 30 cents. 

This may be termed a merry solitaire ; and though no skill 
is required in playing it, it will serve as an amusing and con- 
stantly varying pastime for one or three persons. Any num- 
ber may at the same time act as leokers-on or listeners, be in- 
terested in its developments, and convulsed with laughter 
over its results. 

Match and Catch. — A Merry Picture Game for the 
Young Folks at Home. Price 30 cents. 

Designed for the youngest of the young folks, and can be 
played by those who cannot read — the playing being guided 
by the pictures, which are fantastic and amusing. It will 
prove to be always attractive, and will keep a party of little 
ones pleasantly employed for hours. 



Any of the above will be sent by mail, post paid, on receipt of price, by 

O. A. ROORBACH, 102 Nassau St., N. Y. 



Squalls.— The new English Game. Price 30 cents. 

We offer a people's edition of this new and popular English 
Game, capable of affording as much entertainment as the 
higher cost sets. The prices heretofore have ranged from 
one dollar to five dollars. Full directions for playing, with 
Definitions of Terms employed, accompany each game. 

Hand Book of Dominoes.— This little Book gives 

descriptions and full directions for playing all Games with 
Dominoes, including all recently invented, and the very 
popular European Games. It will vastly increase the inter- 
est felt in Dominoes. Price 15 cts. 

Euchre and its LaWS.— The Laws and Practice of the 
Game of Euchre. One large vol. cloth. Price $1 00. 



The Common Sense Cook Book,— This book aims 

to give, in a compact form, Receipts for Cooking, founded, 
as the title indicates, on common sense. It furnishes a 
reliable guide for the preparation of a vide range of dishes, 
suiting all tastes and all purses. One decided attraction 
is the number of delicious, but inexpensive preparations 
which are included in the work. The proportions of ingre- 
dients are carefully given, as well as the manipulations and 
proper serving up. Price 30 cts. 

How to make a Bad Memory G-ood, and a 

GrOOd Memory Better.— A valuable guide for all de- 
siring to improve their memories, and to be able to recollect 
with facility, dates, facts, faces, names, locations, figures, 
texts, &c. It will be found very useful to students prepar- 
ing for examination, and clergymen, and all public speakers 
will be able to save much time by the aid of the hints as to 
speaking without notes. Price 15 cts. 

Skeleton Leaves, and Phantom Flowers,— also, 

How to Preserve Natural Flowers in all their fresh beauty. 
One vol. cloth Price $2 25. 



Any of the above will be sent by mail, postpaid, on receipt of price, by 

O. A, ROORBACK, 102 Nassau St., N. Y. 



s2 



GO OD BOO KS. 

Hillgrove's Ball Room Guide, and Complete 

Practical Dancing: Master. Containing a Plain Treatise on Etiquette 
and Deportment at Balls and Parties, -with Valuable Hints in Dress and 
the Toilet, together with full explanations and descriptions of the Rudi- 
ments, Terms, Figures, and Steps used in Dancing, including Clear and 
Precise Instructions how to Dance all kinds of Quadrilles, Waltzes, Polkas, 
Redowas, Reels, Round, Plain and Fancy Dances, so that any person may 
learn them without the aid of a Teacher ; to which is added Easy Direc- 
tions for Calling out the Figures of every Dance, and the amount of Music 
required for each. The whole illustrated with one hundred and seventy- 
six descriptive engravings and diagrams, by Thomas Hillgrove, Professor 
of Dancing. 237 pages, bound in cloth, with gilt side and back.. $1 00. 
Bound in boards, with cloth back 75 cts. 

Rarey & Knowlson's Complete Horse Tamer and 

Farrier, comprising the whole Theory of Taming or Breaking the Horse, 
by a New and Improved Method, as practiced with great success in the Uni- 
ted States, and in all the Countries of Europe, by J. S. Raue?, containing 
Rules for selecting a good Horse, for Feeding Horses, etc. Also, The Com- 
plete Farrier ; or, Horse Doctor ; a Guide for the Treatment of Horses 
in all Diseases to which that noble animal is liable, being the result of fifty 

? 'ears' extensive practice of the author, by John C. Knowlson, during his 
ife, an English Farrier of high popularity, containing the latest discover- 
ies in the cure of Spavin. Illustrated with descriptive Engravings. Bound 
in boards, with cloth back — 50 cts. 

The Poet's Companion : A Dictionary of all Allowable 
Rhymes in the English Language. This is a book to aid aspiring genius in 
the Composition of Rhymes, and in Poetical Effusions generally. It gives 
the Perfect, the Imperfect, and the Allowable Rhymes, and will enable you 
to ascertain, to a certainty, whether any words can be mated. It is invalu- 
able to any one who desires to court the muses, and is used by some of the 
best writers in the country. Price 25 cts. 

The French "Wine and Liquor Manufacturer, a 

Practical Guide and Private Receipt Book for the American Liquor Mer- 
chant. By John Rack, Practical "Wine and Liquor Manufacturer. Illus- 
trated with, descriptive Diagrams, Tables, and Engravings. This is by far 
the most complete and reliable Book on the Manufacture of Liquor, ever 
published. Cloth, price $3,00. 

The Yoking Reporter ; or, Row to Write Short Rand. A 
Complete Phonographic Teacher, intended to afford thorough instruction to 
those who have not the assistance of an Oral Teacher. By the aid of this 
work, any person of the most ordinary intelligence may learn to "Write 
Short Hand, and Report Speeches and Sermons in a short time. Bound in 
boards, with cloth back, price 50 cts. 

The Nightingale Songster ; or, Lyrics of Love. Contain- 
ing 164 Choice Sentimental Songs. Bound in boards, with cloth back, and 
illustrated cover, price 50 cts. 

The Emerald ; or, Book of Lrish Melodies. Containing- a Choice 
Collection of Irish, Comic, and Sentimental Songs. Bound in boards, with 
cloth back, and illustrated cover, price 50 cts. 

The Knapsack Fllll Of Ftm ; or, 1000 Rations of Laughter. 

Illustrated with over 500 Comic Engravings. Price •. — 30 cts. 

O. A. ROORBACH, 102 Nassau St. NewJTork. 

Copies of the above boots aent to any address in the U. S. free of postage on receipt of price. 



MASONIC BOOKS. 



Duncan's Masonic Ritual and Monitor ; or, Guide 

to the Wiree Symbolic Degrees of the Ancient York Rite, Entered Apprentice, 
Fellow Craft, and Master Mason. And to the l)egrees of Mark Master, 
Past Master, Most Excellent Master, and the Royal Arch. By Malcolm 
C.Duncan. Explained and Interpreted by copious Notes and numerous 
Engravings. Although this work is a complete Ritual of the Symbolic and 
Chapter Degrees, and is also profusely illustrated with engravings of the 
Secret Signs and Grips, it is not so much the design of the author to gTatify 
the curiosity of the uninitiated, as to furnish a Guide to the Younger 
Members of the O der, by means of which their progress from grade to 
grade may be facilitated. It is a well-known fact that comparatively few 
of the fraternity are "Bright Masons," but with the aid of this invaluable 
Masonic Companion any Mason can, in a short time, become qualified to 
take the Chair as Master of a Lodge. Everything in this book is clear and 
correct, and it gives in the plainest possible language an understandable 
description of all the Rites and Ceremonies practiced in the above-named 
Degrees. Nothing is omitted in it that may tend to impart a full under- 
standing of the principles of Masonry. The Ceremonies as they are (or 
should be) performed, the Pass-Words, Grips, Signs, Tokens, Jewels, 
Emblems, Lectures, and Plans of the Interior of Lodges, are all explained, 
with numerous Notes and Engravings, (all new.) Tais is a valuable book 
for the Fraternity, containing, as it does, the Modern "■Work" of the 
order. No Mason should be without it. It is entirely different from any 
other Masonic book heretofore published. Bound in cloth. Price— - $2 50 
Leather tucks [Pocket-Book Style] with gilt edges $3 00 

Richardson's Monitor of Freemasonry. A com- 
plete Guide to the various Ceremonies and Routine in Freemason's Lodges, 
Chapters, Encampments, Hierarchies, &c, &c, in all the Degrees, whether 
Modern. Ancient, Ineffable, or Historical ; containing Engravings of the 
Signs, Tokens, and Grips, and descriptions of the Regalia and Jewels, and 
likewise the Pass- Words and other Secret Words in each Degree. Profusely 
illustrated with explanatory Engravings and Plates. By Jabez Richard- 
son, A. M. Any Society of Masons who wish to work in the higher De- 
grees, or in any Degree whatever, will find this book an invaluable aid to 
them. 192 pages, bound in gilt cloth. Price - $100 

Morgan's Freemasonry Exposed and Explained. 

Showing the Origin, History and Nature of Masonry ; its effect on the Gov- 
ernment and the Christian Religion ; and containing a Key to all the De- 
grees of Freemasonry. Giving a clear and correct view of the Manner of 
conferring the different Degrees, as practiced in all Lodges throughout the 
Globe. Price - 25 



Copies of the above Books sent by mail, to any address, free of post- 
age, on receipt of price. 

Send all orders to O. A. ROORBACH, 

102 Nassau St., New Yorlc* 



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